ART  WORK 


IN 


GOLD   AND    SILVER 
iRtbiacbal. 


A  A^E  IV  SERIES  OF 


HENRY   B.   WHEATLEY,    F.S.A. 

ASSISTANT   SECRETARY,  SOCIETY   OF   ARTS, 


AND 

PHILIP    HENRY    DELAMOTTE, 

PROFESSOR  OF   DRAWING   AND    PAINTING,    AND   LECTURER   ON 
PRACTICAL   FINE  ART,    KING'S   COLLEGE,    LONDON. 


1.  ART-WORK  IN  EARTHENWARE. 

2.  ART-WORK  IN  GOLD  AND  SILVER.— Medi/eval. 

3.  ART-WORK  IN  PORCELAIN. 

4.  ART-WORK  IN  GOLD  AND  SILVER.— Modern. 

In  Preparation. 
WOOD-CARVING  AND  FURNITURE. 
ART-WORK  IN  GLASS. 
STAINED  AND  PAINTED  GLASS. 
BRONZE  AND  IRON  WORK— ARMOUR. 
CARVINGS  IN  IVORY. 
EMBROIDERY  AND  LACE. 
MOSAIC  WORK  AND  MARQUETRY. 

Each  Handbook  will  be  fully  illustrated  with  about  fifty  engravings, 
and  will  be  carefully  printed  on  toned  paper.  Bound  in  cloth,  price 
2S.  6d. 


•••••  ••••! 

•  •  ••    •  •  •  < 


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•  •• 

•  •  •• 

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.-..• 

, 

•••• 

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•••• 

.••• 

.::.'. 

• 
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PASTORAL     STAVES.       IVORY     AND     ENAMEL. 

XIV      CEXTUEY.  SOLTIKOFF      COLLECTION. 


HANDBOOKS   OF  PRACTICAL    ART. 


ART    WORK 

IN 

GOLD    AND     SILVER 

BY 

HENRY    B.   WHEATLEY,    F.S.A. 

ASSISTANT   SECRETARY,    SOCIETY   OF    ARTS, 

AND 

PHILIP    H.    DELAMOTTE, 

PROFESSOR     OF     DRAWING    AND     PAINTING,     AND    LECTURER    ON 
PRACTICAL   FINE  ART,    KINg'S  COLLEGE,    LONDON. 


SCRIBNER   AND    WELFORD. 

London  :    SAMPSON  LOW,  MARSTON,  SEARLE,  &  RIVINGTON. 

1882. 


EDITORS'     NOTE. 


THE  chief  aim  of  this  series  of  HANDBOOKS  OF  PRACTICAL 
Art  is  to  bring  to  the  notice  of  students  and  amateurs 
of  art,  as  well  as  all  lovers  of  the  highest  excellence  in 
workmanship,  numerous  examples,  both  ancient  and  modern,  of 
the  application  of  beautiful  design  to  articles  of  every-day  use 
and  to  the  various  objects  which  are  frequently  employed  for 
purposes  of  decoration. 

Each  Handbook  will  contain  an  historical  record  of  the 
progress  of  the  art  of  which  it  treats,  from  the  earliest  times 
to  the  present,  showing  the  distinctive  characteristics  of  the 
respective  periods ;  and  will  be  illustrated  with  about  forty 
to  sixty  engravings,  which  will  include  representations  of  many 
of  the  most  remarkable  specimens  of  industrial  art  that  have 
been  preserved  to  us,  and  which  now  adorn  the  national 
museums  of  Europe. 

In  making  the  selection,  much  care  has  been  taken  to  include 
only  those  works  that  are  noteworthy  either  for  the  elegance 
of  their  form  or  the  beauty  of  their  ornamentation  :  although 
a  few  objects  have  been  chosen  for  their  historical  interest, 
and  for  the  purpose  of  showing  the  style  of  art  prevalent  at 
the  time  in  which  they  were  made. 

H.  B.  W. 

P.  H.  D. 
Society  of  Arts. 

Oct.,  1 88 1. 


ivil3^1589 


CONTENTS. 


CHAPTER   I. 

PAGR 

The  Metals— Gold — Silver— Early  Coins  and  Medals — Assay  of 

Gold  and  Silver     .........       i 

CHAPTER  11. 

Ancient    Art — Egyptian — Assyrian — Greek —  Etruscan —  Roman — 

Porapeian — Ancient  Treasures  found       .         .         .         .         .10 

CHAPTER  HI. 

Byzantine  and  Early  Christian  Art— -Gold- work  of  the  Lombards — 

Spanish  Art— The  Treasure  of  Guerrazzar — Early  French  Art     22 


CHAPTER  IV. 

The   Eleventh   Century  to   the   Renaissance — Monastic  Artists — 

Ecclesiastical  Art — Shrines— Chalices— Celebrated  Goldsmiths     35 


LIST  OF   ILLUSTRATIONS. 


No.  PAGE 

Pastoral  Staves —  Gold,  Ivory  and  Enamel  .        .    Frontispiece. 
In  the  South  Kensington  Museum. 

Coin  of  Lysimachus 4 

Cylix,  or  Drinking-Cup  of  Silver    .....  9 

I.    Egyptian  Gold  Ornament 10 

2     Diadem  found  at  Thebes 11 

3,4.    Greek  Fibula 13 

5,6,7.    Gold  Earrings 14 

8.  Etruscan  Mirror  .        . 16 

9.  Phoenician  Earring 17 

10.  Silver  Patera.    Hildesheim 18 

11.  Silver  Crater.    Hildesheim 19 

12.  Silver  Vase.    Hildesheim 20 

13.  Silver  Drinking-Cup.    Hildesheim 20 

14.  Silver  Drinking-Bowl.    Hildesheim 21 

15.  Gold  Torque 21 

16.  17.    Greek  Earrings  and  portion  of  Necklace      .        .  22 

18.  Iron  Crown  of  the  Lombards 25 

19.  Crown  of  Agilulph 25 

20.  Crowns  of  Guerrazzar 27 

21.  Diadem  of  Charlemagne 30 

22.  King  Alfred's  Jewei 33 

23.  The  Tara  Brooch 34 

24.  Golden  Altar  Table 35 

25.  Shrine  of  the  Three  Kings 38 

36.    Chasse  of  St.  Taurien 39 

27.    German  Reliquary 41 


V i i i  List  of  Illustrations . 

No.  PAGE 

28.  Byzantine  Cross 43 

29.  The  Tassilo  Cup 44 

30.  The  Wilten  Chalice 45 

31.  Cup  of  St.  Remigius 46 

32.  Russian  Censer 47 

2,Z'     Crozier.    Laon  Cathedral 49 

34.  Super-Altar  in  Jasper  and  Silver 51 

35.  Monstrance  of  Sedletz  Castle 53 

36.  Byzantine  Ciborium •        •  55 

37.  Founder's  Cup.    Penibroke  College,  Cambridge      .        .        .57 

38.  Gold  Chalice 58 

39.  Silver  and  Niello  Brooch 61 

40.  Silver  Filagree  Brooch 64 


GOLD    AND 
SILVER    SMITHS'    WORK 


CHAPTER  I. 


THE  METALS— GOLD- 


SILVER — EARLY  COINS  AND  MEDALS- 
ASSAY  OF  GOLD. 


THE  two  chief  precious  metals  have  been  largely  used  as 
the  medium  of  such  art  as  has  existed  from  the  earliest 
historic  times.  We  learn  from  the  second  chapter  of  Genesis  that 
the  gold  of  the  land  of  Havilah  was  good  ;  and  in  the  thirteenth 
chapter  we  are  told  that  Abraham  was  rich  in  silver  and  gold. 
Homer  constantly  alludes  to  gold,  and  less  frequently  to  silver ; 
and  gold  ornaments  have  been  found  in  tumuli  of  very  early 
periods.  Silver  was  chiefly  obtained  from  Europe,  as  gold  was 
from  Asia.  Homer  does  not  mention  the  sources  from  which 
gold  was  obtained  in  his  time  ;  and  the  first  hint  as  to  the  locality 
of  the  mines  is  obtained  from  Sophocles  (Antigone),  who  speaks 
of  the  electrum  (or  pale-coloured  metal)  of  Sardis,  and  the  Indian 
gold.  Fuller  details  are  furnished  by  Herodotus,  who  mentions 
the  gold-mines  of  Thasos,  opened  by  the  Phoenicians,  the  first 
colonists  of  the  island,  and  the  more  productive  gold-washings 
in  the  bed  of  the  Pactolus.  The  latter  furnished  the  gifts  sent 
by  Croesus,  the  Lydian  king,  to  Delphi,  which  were  seen  and 


2  Gold  and  Silver  Smiths'  Work, 

described  by  Herodotus.  Besides  ingots,  there  were  a  lion 
weighing  lo  talents  (600  lbs.),  a  female  figure  \\  feet  high,  a 
basin  weighing  Z\  talents  and  12  lbs.  over,  besides  other  objects 
in  gold.  The  amount  of  gold  paid  into  the  treasury  of  Darius 
by  the  Indians  equalled  the  entire  assessment  of  all  the  other 
tributaries. 

This  metal  is  very  equally  spread  over  the  surface  of  the 
globe,  and  new  sources  of  supply  have  been  successively  dis- 
covered. The  mines  of  Egypt  were  long  famous  for  the  large  sup- 
ply which  they  produced  ;  and  the  Gauls  in  their  various  invasions 
are  said  to  have  possessed  an  instinctive  faculty  for  discovering 
gold.  In  modern  times  Europe  was  chiefly  supplied  from 
Mexico,  Brazil,  New  Grenada,  Chili,  and  Peru,  until  in  1847  the 
rich  gold  region  of  California  was  discovered.  The  first  find  of 
gold  in  Australia  was  made  four  years  after,  in  185 1.  At  present 
the  annual  yield  of  gold  in  the  whole  world  is  calculated  at 
between  thirty  and  forty  millions  sterling. 

Herodotus  mentions  a  silver-mine  adjacent  to  the  Lake  Prasias 
in  Macedonia,  from  which  Alexander  I.  obtained  a  talent  (60  lbs.) 
in  weight  per  day ;  but  the  most  extensive  and  richest  mines 
were  in  the  chain  of  hills  occupying  the  southern  extremity  of 
the  Attic  peninsula,  which  are  described  by  Xenophon  as  of 
great  antiquity.  These  were  nearly  worked  out  when  Diodorus 
contrasted  their  poverty  with  the  wealth  of  the  Spanish  mines. 
Considerably  more  than  three-fourths  of  the  present  supply  of 
silver  comes  from  America,  which  produces  over  2,000,000  lbs. 
troy  annually.  Until  lately,  Mexico  yielded  the  largest  per- 
centage of  this  amount,  but  a  rival  has  now  arisen  in  the  state  of 
Nevada  (United  States),  where  singularly  rich  mines  have  been 
discovered.  The  chief  European  supply  is  derived  from  Spain, 
where  genuine  silver  ore  exists  :  the  British  Isles  rank  next 
as  producers  of  silver,  on  account  of  the  large  amount  obtained 
in  the  lead-mines  by  the  process  of  desilverizing  lead,  which  in 
1879  produced  333,674  oz.,  worth  70,905/.  A  large  part  of  this 
amount  is  required  merely  to  supply  the  loss  by  abrasion  and 
other  causes.  Mr.  Lutshaunig^  calculates  that  the  annual  loss 
of  silver  by  wear  of  coinage,  by  plating,  by  fire,  by  wrecks,  and 
1  "  Book  of  Hall  Marks,"  1872. 


Antiquity  of  the  Precious  Metals.  3 

chiefly  by  photographic  processes,  is  about  1,365,000  oz.,  or 
say  thirty-five  tons.  The  waste  of  gold  is  even  greater 
proportionately  than  that  of  silver,  on  account  of  the  large 
number  of  trades  in  which  it  is  used  and  lost.  This  may  be 
put  at  about  fifteen  tons  annually.  As  there  are  no  statistics 
upon  which  to  base  this  calculation,  it  must  be  taken  merely  as 
an  approximate  estimate. 

The  unanimity  with  which  all  races  of  mankind  have  selected 
gold  as  the  first  and  chief  representative  of  value  is  not  a  little 
remarkable.  Pliny  seems  to  have  been  much  struck  with  this 
and  he  straightway  attempted  to  find  a  reason  for  the  preference, 
He  says  it  could  not  have  been  selected  for  its  utility,  nor  for  its 
heaviness  or  ductility,  nor  for  its  colour,  as  yellow  is  not  par- 
ticularly admired  in  other  things.  He  therefore  came  to  the 
conclusion  that  it  must  have  been  chosen  for  its  indestructibility. 
The  philosopher  is  clearly  wrong  in  dismissing  so  summarily  the 
claims  of  colour,  for  the  constant  association  by  the  poets  of  the 
term  "  golden  "  with  the  light  of  the  sun  shows  what  attribute  of 
the  metal  most  struck  them.  In  fact,  the  colour  and  brightness 
of  gold  makes  it  highly  attractive  for  ornamental  purposes. 
When  to  these  advantages  are  added  its  ductility,  and  under 
ordinary  circumstances  its  freedom  from  rust  and  tarnish,  it  is 
easier  to  understand  why  the  choice  of  this  metal  has  been  so 
universal. 

In  the  earliest  times  the  precious  metals  were  used  for  the 
construction  of  personal  ornaments  ;  and  the  savage  found  it 
easy  to  beat  out  the  pure  ore  into  circlets  to  adorn  his  limbs. 
The  intrinsic  value  of  these  metals  has  been  at  the  same  time 
both  beneficial  and  injurious  to  art  treatment  ;  beneficial  because 
the  value  of  the  material  made  it  worth  while  to  expend  the 
best  work  upon  it,  and  injurious  because,  being  valuable  in  itself, 
it  was  frequently  changed  in  form  as  it  passed  from  hand  to 
hand.  Even  when  the  plainest  treatment  was  employed  it 
could  never  be  despised.  In  the  earliest  times  gold  and  silver 
were  chiefly  used  as  mediums  of  exchange,  and  this  meiallic 
money  was  in  the  form  of  bars,  spikes,  and  rings  ;  the  ring 
money  could  be  opened,  closed,  and  linked  in  a  chain  for  con- 
venience of  carriage. 

B  2 


Gold  and  Silver  Smiths''  Work. 


COIN    OF   LYSIMACHUS, 
KING   OF   THRACE. 


The  earliest  money  current  in  Mesopotamia  consisted  of  small 
gold  bars  weighing  about  260  and  130  grains,  and  silver  bars  of 
172  and  Z6  grains.  Instill  earlier  periods,  payments  were  made 
in  Assyria  in  silver  of  specific  weight.^ 

It  is  generally  considered  that  money  was  first  coined  in  Asia 
Minor,  when  subject  to  the  kings  of  Lydia,  and  at  a  period  not 
earlier   than   the   seventh  or    eighth  century   B.C.      Herodotus 

expressly  states  that  the  Lydians  were 
the  first  nation  to  introduce  the  use 
of  gold  and  silver  coin,  and  that  they 
coined  money  before  the  Greeks.  On 
the  other  hand,  some  numismatists 
maintain,  from  the  authority  of  the 
Parian  marble,  that  Pheidon,  king  of 
Argos,  first  coined  silver  money  at 
^gina.  The  date  of  Pheidon's  reign  is 
assigned  by  some  authorities  between 
783  and  730  B.C.,  although  Herodotus 
and  Strabo  date  it,  according  to  the 
Newton  chronology,  576  B.C. 

The  earliest  coins  of  the  cities  of  Asia  Minor  before  the  time 
of  Croesus  were  of  alloyed  metal,  known  as  electrum.^  The 
artistic  treatment  of  coinage  has  usually  been  considered  of 
secondary  importance,  and  therefore  we  need  scarcely  take  this 
form  of  gold  and  silver  work  into  account.  Most  early  coins 
have  a  lumpish  appearance ;  but  some  of  those  struck  in  Greece 
and  in  Mediaeval  Italy  have  great  merit. 

Among  those  celebrated  artists  who  have  devoted  their  atten- 
tion to  designs  for  coins  are  Francia,  the  greatest  painter  of  the 
earlier  Bolognese  school,  who  at  the  time  of  his  death,  15 17,  was 
master  of  the  mint  at  Bologna  ;  Raphael  also  designed  medals, 
if  not  coins.  The  coins  of  Clement  VI I.  are  mainly  the  work 
of  Benvenuto  Cellini,  who  appears  himself  to  have  drawn  the 
designs  for  the  coins  which  he  engraved ;  the  coins  of  Innocent 
XII.  were  the  work  of  Ferdinand  Saint  Urbain  and  Hameranus.4 

2  "  Ninth  Annual  Report  of  the  Warden  of  the  Standards,"  p.  52. 

^  Ibid.  p.  52. 

^  "  Seventh  Annual  Report  of  the  Deputy  Master  of  the  Mint,"  p.  19. 


Ancient  Coinages.  5 

Several  of  the  engravers  to  the  English  Mint  have  been  men  of 
some  distinction  ;  Simon  Rawlins,  Roetier,  Blondeau,  Natter,  and 
Pingo  are  all  well-known  names.  Mr.  Fremantle  describes  the 
works  of  Thomas  Simon,  the  pupil  of  Nicholas  Briot,  as  without 
question  the  best  specimens  of  the  art  of  coinage  ever  produced 
by  an  Englishman.  ^ 

John  Roetier  coined  for  Charles  II.  and  James  II. ;  and,  being 
a  Jacobite,  he  took  advantage  of  his  position  after  the  Revolu- 
tion to  make  King  William's  halfpence  so  that  the  back  part  of 
the  head  represented  a  satyr's  face  with  horns.  For  this  he  was 
turned  out  of  his  office  ;  but  he  soon  after  obtained  employment 
in  the  French  mint.  Mr.  Chaffers  remarks  that  it  was  not  until 
Henry  Vllth's  reign  that  any  real  expression  was  given  to  the 
human  countenance,  either  in  sculpture  or  coinage.  The  fact 
here  stated,  it  may  be  observed,  js  curious,  inasmuch  as  good 
portraits  are  extant  of  earlier  kings,  such  as  those  of  Edward  III., 
preserved  in  illupiinated  MSS,  at  Windsor,  and  that  of  Richard  II. 
at  Westminster  Abbey.  The  portraits  on  the  coins  of 
Henry  VIII.  are  excellent,  and  it  may  be  safely  inferred  that 
the  genius  of  Holbein  was  not  without  influence  on  the  coinage 
of  this  reign,  so  closely  do  the  likenesses  resemble  the  portraits 
of  the  king  by  that  master." 

Although  gold  and  silver  in  a  pure  state,  without  any  mixture 
of  alloy,  are  too  soft  to  be  used  with  advantage  in  the  arts,  we 
find  that  many  coinages  have  been  really  unalloyed  ;  thus  an 
aureus  of  Vespasian  was  found,  on  being  assayed,  to  contain 
only  y^  of  alloy,  a  native  mixture  which  the  most  careful 
modern  process  could  hardly  extract.  Even  as  late  as  the 
eleventh  century  the  bezants  of  the  Comneni  were  still  of  22 
carats,  the  standard  of  the  English  sovereign,  which  is  now  the 
highest  in  Europe.  This  was  not  always  so,  for  the  Venetian 
and  Papal  zechins  and  the  Dutch  and  Austrian  ducats  were 
largely  minted  of  fine  gold.  In  the  thirteenth  century  the 
Palaeologi  debased  the  standard  to  a  miserable  extent.  Michael 
minted  bezants  of  only  16  carats,  or  \  fine  gold ;  but  his  son 
Andronicus  reduced  this  to  10,  and  ultimately  to  8  carats  fine, 

*  "  Seventh  Annual  Report  of  the  Deputy  Master  of  the  Mint,"  p.  23. 

•  Ibid.  pp.  20 — 23, 


6  Gold  and  Silver  Smiths^  Work. 

or  one  less  than  the  base  metal  of  9  carats,  which  can  be  legally 
hall-marked  in  England.  The  present  French  standard  is 
-^^  alloy  for  both  gold  and  silver,  and  this  is  now  adopted 
in  all  the  mints  of  Europe  except  our  own.  Several  alloys 
were  in  use  among  the  Romans,  and  all  had  distinct  names, 
thus :  gold  containing  as  much  as  \  silver  took  the  name 
of  electrum ;  a  mixture  of  copper  with  \  gold  was  known  as 
pyropuSy  apparently  the  same  alloy  as  that  better  known  as  auri- 
chalcufn.  Electrum  was  in  request  for  drinking-cups,  partly 
because  it  was  more  lustrous  by  lamp-light  than  the  unalloyed 
metal,  and  partly  because  that  which  was  found  native  in  the 
Spanish  gold-washings  was  supposed  to  betray  the  presence  of 
poison  in  the  draught  it  contained  by  a  changing  colour  and 
crackling  noise. " 

The  principal  alloy  of  silver  is  copper,  but  other  metals  are 
occasionally  employed  in  the  commoner  qualities  of  silver. 
The  English  standard  for  silver  has  always  been  high  ;  and  the 
coinage  only  contains  -:^^  of  alloy  (copper)  against  f^  of  fine 
silver.  There  are  really  two  standards,  one  called  the  old,  the 
other  the  7ieiv,  although  the  latter  is  practically  in  abeyance  ;  the 
old  standard  is  1 1  oz.  2  dwts.  fine  silver  in  the  pound  troy  ;  but 
a  law  was  passed  in  the  reign  of  William  III.  (1697),  raising  the 
standard  to  li  oz.  10  dwts.  for  plate  alone,  the  object  being  to 
prevent  the  melting  down  of  coin.  This  is  called  the  new 
standard  ;  but  as  the  articles  made  from  this  silver  were  found 
not  to  be  so  durable  as  those  from  the  more  alloyed  metal, 
silversmiths  were  permitted  by  a  law  passed  in  the  reign  of 
George  III.  (1819),  to  manufacture  from  the  former  standard, 
the  use  of  the  new  one  beings  however,  permitted  to  those  who 
chose  to  avail  themselves  of  it.  ^ 

Means  of  testing,  or  assay,  are  of  considerable  antiquity  ;  the 
ancient  Greeks  made  use  of  a  testing  stone ;  but  we  have  no 
records  of  any  system  of  stamping  gold  and  silver  wares  earlier 
than  the  thirteenth  century.  In  the  year  1238  it  was  ordained 
in  England  that  no  one  should  use  any  gold  of  which  the  mark 
was  not  worth  100  shillings  at  the  least,  nor  any  silver  worse  than 

"^  C.  W.  King's  "  Natural  History  of  Precious  Stones,"  1865,  p.  116. 
«  G.  E,  Gee's  "  Silversmiths'  Handbook,"  1877,  p.  60. 


Hall  Marks.  7 

the  standard  of  the  coins.  The  privilege  of  assaying  the  pre- 
cious metals  was  conferred  upon  the  Goldsmiths'  Company 
by  the  statute  28  Edw.  I.,  c.  20  ( 1 300),  in  which  directions  are 
given  as  to  the  mark  to  be  attached  to  the  object.  The 
first  charter  of  the  Company  bears  date  March  30th,  1327 
(I  Edw.  III.). 

In  France  certain  rules  for  the  regulation  of  the  goldsmiths  of 
Paris,  made  about  the  middle  of  the  thirteenth  century,  are  in 
existence.  In  an  ordinance  of  Philippe  le  Hardi  (1275),  the 
argeiitarii  were  compelled  to  stamp  their  works  with  the  seign 
of  the  town  in  which  their  forge  was  situated,  on  pain  of  the 
confiscation  of  the  goods  ;  and  in  the  reign  of  Philippe  le  Bel 
(13 1 3),  gold  was  ordered  to  be  stamped  with  the  punch  of  the 
Goldsmiths'  Company  of  Paris.  In  these  old  ordinances  the 
toiiche  de  Paris  is  recognized  as  the  standard  for  gold,  and  the 
English  sterling  for  silver. 

Hall-marks  are  so-called  from  the  special  places  or  halls 
where  all  plate  manufactured  in  the  country  has  to  be  sent  to  be 
assayed  and  stamped.  These  places  are  fixed  by  Act  of  Par- 
liament, and  the  towns  where  they  are  situated  are  styled  assay 
towns. 

The  punch  marks  used  on  plate  are — 

1.  Standard. — A  figure  representing  number  of  carats;  a  crown  iri  Eiigland 
a  thistle  in  Scotland,  and  in  Ireland  a  crowned  harp  (22),  or  a  unicorn's 
head  (18).  [The  three  lower  standards  (15,  12,  9)  are  not  marked  with  the 
crown  or  sovereign's  head.] 

The  silver  standard  mark  is  a  lion  passant  in  England,  a  harp  crowned  in 
Ireland,  a  thistle  in  Edinburgh,  and  a  lion  rampant  in  Glasgow. 

2.  Duty. — Head  of  the  reigning  sovereign,  and  the  figure  of  Hibemia  in 
Dublin. 

3.  Date. — Letter  of  the  alphabet. 

4.  Place. — Mark  of  assay  town. 

5.  Maker. — Initials  of  the  maker's  Christian  and  surnames. 

The  clumsy  process  of  marking  the  date  by  a  letter  of  the 
alphabet  is  of  some  antiquity.  Mr.  Chaffers  '  gives  a  list  of  23 
cycles   of  twenty   years    each    for    the  London  Assay  Ofifice. 

»  **  Hall  Marks  on  Gold  and  Silver  Plate,"  by  W.  Chaffers,  5th  ed.,  1875. 


8  Gold  and  Silver'  Smiths'  Work, 

These  letters  change  their  form  with  each  cycle,  and  black  letter, 
roman,  italic,  court  and  lombard  types  are  all  represented. 
The  complete  cycles  of  letters  begin  with  Queen  Elizabeth 
(1558-9),  cycles  I  to  6  (1438 — 1558)  being  incomplete.  The 
letters  for  the  other  assay  offices  are  also  given  by  Mr. 
Chaffers. 

Most  of  the  European  countries  followed  England  and  France 
in  the  use  of  hall  marks.  Augsburg  and  Nuremberg  were  the 
great  centres  of  goldsmiths'  work  in  Germany  during  the  six- 
teenth and  seventeenth  centuries,  but  most  of  the  other  cities  had 
their  special  marks  as  well  as  these.  Many  of  the  cities  of  Spain 
had  their  corporations  of  goldsmiths  and  silversmiths,  and  these 
bodies  mostly  used  stamps  showing  the  place  of  manufacture 
and  the  maker's  name.  Two  sheets  of  electrotype  casts  of 
stamps  used  in  Flanders  from  1567  to  1636,  containing  105 
names  of  the  sixteenth  and  81  of  the  seventeenth  century,  have 
been  obtained  for  the  South  Kensington  Museum  by  Mr. 
Weale. 

The  assay  of  gold  is  effected  by  adding  to  a  weighed  piece  of 
alloyed  gold  three  times  its  weight  of  fine  silver.  These  are 
wrapped  together  in  a  piece  of  sheet  lead  and  cupelled  or  melted 
in  a  porous  crucible  called  a  cupel.  All  the  impurities  are  thus 
got  rid  of,  and  there  only  remains  on  the  cupel  an  alloy  of  gold 
and  silver,  which  is  flattened  out  on  an  anvil  and  bent  into  a 
screw,  called  a  cornet.  This,  is  treated  first  with  nitric  acid,  and 
afterwards  with  hydrochloric  acid.  This  dissolves  all  the  silver 
and  leaves  the  gold  only,  which  is  dried,  shrunk,  and  weighed. 
The  difference  between  the  weight  of  this  pure  gold  and  the 
original  metal  before  cupellation  shows  the  exact  quantity  of 
alloy. 

The  operation  of  making  a  silver  assay  is  simpler.  The  piece 
of  silver  to  be  tested  must  be  weighed  accurately  and  wrapped 
in  twelve  times  its  weight  of  sheet-lead.  The  whole  is  then 
melted  in  a  cupel,  and  all  the  alloy  is  expelled  with  the  lead,  a 
bead  of  fine  silver  only  being  left.  This  is  weighed  in  a  sensi- 
tive balance,  and  the  amount  of  alloy  is  calculated  from  the  loss 
in  cupelling. 


Value  of  Gold  and  Silver,  9 

The  value  per  ounce  of  the  different  qualities  of  gold  allowed 
to  be  stamped  is  as  follows  : — 

JL  s.   d. 

24  carat  or  pure  gold 4    4  ii^ 

22      „     ( I  St  standard  and  currency)     .        .        .        3  17  loi 

18     „     (2nd  standard) 3    3    8^ 

15     „ 2  13     I 

12     „  225! 

9    „  I  II  io| 

It  must  be  borne  in  mind  that  the  carat  when  applied  to  dia- 
monds is  an  actual  weight,  but  when  used  to  indicate  the  purity 
of  gold  it  is  only  equivalent  to  one  part  of  an  imaginary  sub- 
division into  twenty- four  parts.  Thus  22  carat  gold  represents 
2  carats  of  alloy  ;  18  carat  gold,  6  carats  of  alloy  ;  and  so  on, 
whatever  the  weight  may  be. 

One  quality  only  of  silver  is  recognized,  the  market  price  of 
which  is  constantly  varying.  Sterling  silver  contains  222  dwts. 
of  silver  to  1 8  dwts.  of  copper. 


CYLIX  OR  CUP  OF  SILVER. 

Found  in  the  ruins  of  Alesia  (Cite  cCOr)  Ffauce. 


{Fig.   I.)    EGYPTIAN   ORNAMENT   IN   GOLD, 


CHAPTER  11. 


ANCIENT  ART. 

IN  considering  the  objects  that  have  been  produced  by  gold- 
smiths and  silversmiths  during  different  ages,  we  shall  find 
that  they  may  be  divided  broadly  under' the  three  heads  of — 

I.  Personal  jewellery,  and  household  plate. 
II.  Ecclesiastical  work. 
III.  Secular  work  for  corporate  bodies. 

Although  the  contents  of  the  following  pages  will  not  be 
arranged  exactly  in  this  order,  it  will  be  well  for  the  reader  to 
bear  these  divisions  in  mind.  The  earliest  specimens  of  art  in 
metal  work  that  have  been  preserved  to  us  are  personal  orna- 
ments (Fig.  I  to  7),  and  this  is  the  natural  effect  of  the  custom 
of  burying  these  treasures  with  the  body  of  their  former  possessor. 
The  treasures  of  palaces  and  temples  were  destroyed  in  the 
political  convulsions  of  kingdoms.  When  we  come  to  the 
Christian  era  we  find  the  church,  which  was  the  only  place  of 
safety  in  times  of  violence,  to  be  the  chief  possessor  of  art 
treasures.  In  later  and  more  settled  times  the  secular  began  to 
rival  the  ecclesiastical  plate.  Personal  ornaments  are  of  course 
general  in  all  ages.  The  Bible  is  full  of  references  to  work  in 
the  precious  metals.  When  Eleazar  wished  to  forward  his 
master's  suit  he  presented  Rebekah  with  *'  a  golden  earring  of 
half  a  shekel  weight,  and  two  bracelets  for  her  hands  of  ten 
shekels  weight  of  gold  "  (Gen.  xxiv.  22).     The  earliest  specimens 


Egyptian  Art. 


II 


of  goldsmiths'  work  of  which  we  have  any  real  knovvledge,  owe 
their  origin  to  Egypt.  During  their  captivity  in  that  country 
the  Israelites  must  have  learnt  that  dexterity  in  the  working  of 
gold  and  silver,  which  enabled  them  to  make  the  sacred  vessels 
that  were  required  for  the  tabernacle.  The  two  chief  artificers 
who  were  chosen  "  to  devise  cunning  works,  to  work  in  gold,  in 
silver,  and  in  brass,"  were  Bezaleel,  of  the  tribe  of  Judah,  and 
Aholiab,  of  the  tribe  of  Dan  (Exod.  xxxi.).  The  description  of 
the  various  articles  is  very  full,  as,  for  instance,  that  of  the 
candlestick  with  its  seven  lamps,  which  was  made  of  a  talent  of 
pure  gold.  "  Of  beaten  work  made  he  the  candlestick ;  his 
shaft,  and  his  branch,  his  bowls,  his  knops,  and  his  flowers,  were 
of  the  same;  and  six  branches  going  out  of  the  sides  thereof; 
three  branches  of  the  candlestick  out  of  the  one  side  thereof,  and 
three  branches  of  the  candlestick  out  of  the  other  side  thereof" 
(Exod.  xxxvii.  i8).  This  candlestick  is  figured  among  the 
sculptures  inside  the  arch  of  Titus,  at  Rome. 

The  late  M.  Auguste  Mariette  (Mariette  Bey)  discovered  at 
Thebes  a  remarkable  set  of  gold  ornaments,  which  he  assigned 

to  the  period  1500 
years  B.C.  These 
treasures  were 
found  in  a  mummy 
case,  which  was 
supposed  to  contain 
the  remains  of  the 
Queen  Aah-Hotep. 
Among  various 
other  articles  were 
a  diadem  of  gold 
and  lapis  lazuli 
(Fig.  2),  a  square 
brooch  set  with 
precious  stones,  and 
a  gold  boat  with  silver  rowers,  upon  which  was  the  name  of  the 
husband  of  the  queen,  Rameses.  These  relics  belong  to  the 
Khedive  of  Egypt,  and  were  shown  in  London  at  the  Exhibition 
of  1862. 


(Fig.  a.)    DIADEM  OF  GOLD  AND   LAPIS   LAZULI. 

Found  in  the  tomb  of  Queen  Aah-Hotep. 


1 2  Gold  and  Stiver  Smiths'  Work, 

Pliny  remarks  that  "  Egypt  stains  silver  in  order  to  see  her 
darling  Anubis  upon  the  plate ;  and  paints  the  metal  instead  of 
chasing  it/'  from  which  Mr.  King  draws  the  conclusion  that  the 
Egyptians  at  some  unknown  period  invented  the  art  oiniellatiLra, 
afterwards  perfected  by  the  Florentines  of  the  Quattrocento 
school.  The  pigment  was  made  by  adding  one-third  by  weight 
of  the  finest  copper,  and  as  much  of  sulphur,  to  some  silver ; 
this  mixture  was  roasted  in  a  pot  with  a  luted  cover,  until  the 
cover  opened  of  itself.^ 

Sir  Henry  Layard  has  expressed  the  opinion  that  alloyed 
metals  were  largely  used,  both  by  the  Assyrians  and  the  Jews, 
and  that  much  of  the  metal  called  gold  by  sacred  and  profane 
writers  was  really  the  aurichalcum  of  the  Greeks,  or  copper 
alloyed  with  other  metals,  such  as  that  used  in  the  bowls  and 
plates  discovered  at  Nimrod,  but  this  opinion  has  been  disputed. 

The  statues  erected  by  the  ancients  in  honour  of  their  gods 
were  often  of  colossal  size.  Herodotus  saw  one  of  these  in  the 
Temple  of  Belus,  which  consisted  of  a  golden  image  seated  upon 
a  throne,  of  which  the  seat  and  base  were  gold.  The  Chaldeans 
informed  the  historian  that  the  weight  of  the  whole  was  800 
talents,  or  48,000  lbs.,  but  there  is  reason  to  believe  that  the 
foundation  of  the  structure  was  of  wood,  and  that  the  gold 
was  laid  on  in  plates,  as  is  described  in  the  accounts  of 
the  Jewish  tabernacle.  The  Asiatic  method  of  covering  other 
materials  with  plates  of  gold  may  be  illustrated  by  the  passage 
in  the  book  of  Isaiah  (xl.  19),  where  we  read,  "the  workman 
melteth  a  graven  image,  and  the  goldsmith  spreadeth  it  over 
with  gold  and  casteth  silver  chains." 

In  the  Homeric  poems  we  read  of  the  golden  shield  of 
Achilles,  and  of  the  golden  armour  of  Diomede  and  Glaucus, 
but,  really,  gold  was  excessively  rare  in  Greece  before  the 
conquest  of  Persia.  It  is  related  that  the  Lacedemonians  when 
they  required  the  small  amount  of  gold  necessary  for  gilding 
the  face  of  a  bronze  statue,  sent  all  over  Greece  in  a  vain 
search  for  it.  When  in  despair  they  consulted  the  Delphic 
oracle,  they  were  advised  to  apply  to  Croesus.  Another 
instance  of  this  rarity  may  be  found  in  the  conduct  of  Philip, 
1  C.  W.  King's  "Natural  History  of  Precious  Stones,"  1865,  p.  75. 


Greek  Art, 


13 


{Fig.  3.)   GOLD   FIBULA  (BROOCh). 

IGreek.'] 


who,  when  he  first  became  the  possessor  of  a  golden  cup,  set  so 
high  a  value  upon  it,  as  always  to  keep  it  under  his  pillow. 

Pliny  observes  as  a  strange  fact 
that  although  the  great  Greek 
artists  had  obtained  a  high  repu- 
tation for  chasing  in  silver,  yet 
none  of  them  were  similarly 
famed  for  working  in  gold. 

The  first  statues  seen  in  Greece, 
and  ascribed  to  the  mythical 
Daedalus  or  his  pupil  Learchus, 
were  executed  with  the  hammer 
alone ;  the  several  parts  being 
hammered  out  separately  and 
joined  together  by  pins  or  rivets  : 
the  process  of  soldering  not  having  been  invented  until  long 
afterwards. 

Three  different  processes  were  used  by  the  Greeks  in  the 
production  of  their  silver  work.  The  first  was  that  of  beating 
with  the  hammer  thin  plates  into  various  forms.  These  sheets 
of  metal  were  placed  upon  a  substratum  of  cement,  which 
yielded  sufficiently  to  allow  of  the  requisite  amount  of  relief; 
it  was  then  worked  upon  with  blunt  punches  of  different  shapes, 
the  ornament  or  figure  being  gradually  raised  by  the  ground 
being  sunk.  This  kind  of  work,  called  by  the  French  repoiiss^^ 
was  revived  by  the  Italians  in  the  sixteenth  century,  and  brought 

to  great  perfection  by  them. 
The  second  process  adopted  by 
the  Greeks  was  that  of  en- 
graving the  surface  of  the  work 

with   a  sharp  tool,  or  chasing; 
i^Fi,  4.)  COLO  PiBULA.   i_creek.^  ^^^  ^^^  ^j^.^^^  ^^^^  ^^  inlaying 

one  metal  into  another,  or  damascening.' 

The  names  of  a  large  number  of  Greek  artists  in  the  precious 
metals  have  come  down  to  us.     The  head  of  his  profession  was 

2  King's  "Natural  History  of  Precious  Stones,"  1865,  p.  82. 

3  '•  The  Art  of  the  Silversmith,"  by  W.  H.  Singer  (Journal,  Soc.  of  Arts, 
vol.  xxviii.  p.  370). 


H 


Gold  and  Silver  Smiths^  Work. 


Mentor,  whose  work  was  held  in  high  repute.  Crassus  is  said 
to  have  paid  lOO  sestercia  (or  looo/.)  for  two  bowls  by  him. 
After  Mentor  came  Acragas,  who  gained  fame  by  the  production 
of  a  hunting -scene  ;  Bcethus ;  and  Mys,  whose  most  admired 
piece  was  a  group  of  Sileni  and  Cupids.  All  these  three  were 
Rhodian  goldsmiths.     In  the  third  rank  were  Calamis,  Antipater, 


{Fi^.  5.)  Greek. 


GOLD   EARRINGS. 

{Fig.  6.)  Greek. 


iJFig.  7.)  Byzantine. 


Stratonicus  of  Cyzicus,  Tauriscus,  and  others.  After  these  in 
point  of  time  came  Pasiteles,  Hedystratides,  Zopyrus,  and 
Pytheas.  The  last  artist  was  specially  famed  for  his  small 
cups,  embossed  with  cooking  scenes,  and  made  so  thin  that  it 
was  impossible  to  take  a  cast  from  them  for  fear  of  bruising  the 
relief. 

Some  of  the  greatest  Greek  sculptors  were  also  workers  in 
the  precious  metals,  and  Pheidias  is  known  to  have  formed 
statues  of  ivory  and  gold,  or  chryselephantine.  The  Romans 
were  not  themselves  artists,  but  they  highly  appreciated  the 
work  of  the  Greeks,  and  eagerly  sought  after  old  chased  plate, 
although  the  chasings  had  often  become  obliterated  by  age 
and  wear.  The  artistic  element  was  soon  overlooked,  and  the 
luxurious  vied  with  each  other  in  the  possession  of  the  largest 
silver  dishes.  Drusillanus,  a  slave  of  Claudius,  and  the 
treasurer  of  Hither  Spain  (the  province  containing  the  mines), 
had  a  silver  dish,  weighing  500  lbs.,  made  in  a  forge  built  for  the 
purpose,  with  eight  plates  to  match  it,  weighing  together  250  lbs. 


Greek  and  Roman  Art.  1 5 

All  kinds  of  household  effects  were  decorated  with  silver,  and 
it  is  recorded  that  Nero's  wife  Poppea  had  her  mules  shod  with 
gold.  The  Romans  in  their  ostentation  imitated  a  Persian 
fashion,  and  covered  their  robes  with  disks  in  thin  gold  plate, 
ornamented  with  designs  in  repoiiss^  work.  The  substance  of 
the  plate  was  usually  of  the  thickness  of  stout  cartridge  paper, 
and  the  weight  of  the  robe  was  necessarily  very  considerable. 

A  large  business  was  done  by  those  men  who  produced  the 
statues  of  gods  and  goddesses  in  connexion  with  the  temples, 
and  we  see  from  the  account  in  the  "  Acts  of  the  Apostles  "  (xix. 
24)  that  Demetrius  the  silversmith  who  "  made  silver  shrines  for 
Diana "  was  a  man  of  considerable  influence  in  the  city  of 
Ephesus. 

We  should  have  little  more  than  the  descriptions  of  Pliny 
and  others  to  guide  us  in  estimating  the  examples  of  Greek  gold 
and  silver  smiths'  work,  were  it  not  that  buried  treasures  have 
at  different  times  been  discovered.  We  have  already  alluded  to 
the  late  Mariette  Bey's  excavations  at  Thebes.  Dr.  Schliemann 
discovered  at  Mycenae  a  large  quantity  of  gold  and  silver  articles 
— such  as  belts,  buttons,  breastplates,  and  helmets. 

From  thevast  quantity  of  ornaments  sometimes  found  together, 
it  has  been  supposed  by  some  that  goldsmiths  in  the  early  ages 
kept  regular  stocks-in-trade. 

Numerous  gold  crowns,  spoons,  and  gems  of  all  kinds  were 
found  at  Rourivum  in  Cyprus,  and  offered  to  the  British  Museum 
by  General  Cesnola,  in  1876.  These  are  now  in  a  public  museum 
at  New  York.  Amongst  the  objects  are  many  vessels  of 
elaborate  silver  workmanship. 

The  excavations  made  in  the  present  century  in  Etruria, 
especially  in  the  tombs,  have  produced  many  examples  of  old 
Greek  work.  Some  of  the  specimens,  known  as  funeral  orna- 
ments, are  light  and  delicate,  while  others,  evidently  intended 
for  constant  use,  are  firm  and  strong.  All  are  usually  of  the 
purest  gold.  Repousse  figures  alternate  with  strings  of  the 
finest  granulated  work,  and  the  exquisite  devices  testify  to  the 
use  by  the  Etruscans  of  agencies  unknown  to  us.  Grains  of 
gold,  scarcely  perceptible  to  the  naked  eye,  were  joined  with 
such  nicety  that  they  appeared  portions  of  the  original,  and 


1 6  Gold  and  Silver"  Smiths*  Work, 

exceed  in  delicacy  of  manipulation  anything  produced  in   later 
ages. 

This  exquisite  workmanship,  which  has  remained  a  marvel 
to  succeeding  artists,  was  chiefly  devoted  to  the  production  of 
personal  ornaments.  The  accompanying  representation  of  an 
engraved  hand-mirror   (Fig.    8)   is   of  great   beauty.      Ancient 


(Fig.  8.)  HAND-MIRROR.     \_Etruscan.'\ 

mirrors  were  usually  made  of  an  alloy  of  copper  and  stannin  (or 
tin),  with  backs  of  bronze  ;  but  sometimes  silver  was  burnished 
and  used  for  the  surface,  while  occasionally  gold  was  introduced 
at  the  back  to  assist  the  reflection. 

There  is  a  special  interest  appertaining  to  the  art  of  Etruria, 
in  that  it  was  through  her  that  the  Romans  first  learnt  the  art  of 
Greece. 


Treasures  Found. 


17 


Some  Phoenician  earrings  discovered  by  M.  Salzmann  among 
the  ruins  of  Camyrus,  in  the  Island  of  Rhodes,  are  attributed  by 
him  to  the  eighth  century  before  the  Christian  era.  They  are 
made  of  fine  gold,  the  surfaces  being  of 
two  beaten  plates,  fixed  together  by 
means  of  solder.  They  are  executed 
in  embossed  work,  and  covered  with 
filigree  ornament.  The  mane  of  a  lion, 
which  is  the  central  figure,  is  composed 
of  the  minutest  granulated  balls,  and 
his  mouth  and  ears  are  designed  in  the 
same  way.  Pomegranate  blossoms,  at- 
tached to  fine  chains,  are  joined  to  the 
rings  at  the  base  of  the  earring,  and 
these  divide  into  three  parts  to  represent 
pomegranate  branches. 

In  the  year  1830  a  Norman  peasant, 
named  Tronchin,  struck,  in  ploughing  his 
field  at  Bernay,  upon  a  large  tile  covering 
a  hoard  of  silver  articles,  weighing  over 
50  lbs.  This  was  the  treasure  of  the 
temple  of  Mercurius  Cannetonensis, 
which  had  been  buried  during  some  time 
of  trouble  and  never  reclaimed.  It  con- 
sisted of  utensils  of  various  periods  from 
that  of  Alexander  (some  of  the  objects 
of  which  epoch  were  in  the  purest  Greek 
style)  to  the  more  practical  one  of  the  Romans,  whose  large  flat 
dishes  were  ornamented  with  a  solid  and  strong  chasing.  Among 
the  most  important  of  these  objects  were  two  tall  flagons,  em- 
bossed with  scenes  from  the  "  Iliad,"  which  have  been  referred 
to  the  time  of  Pasiteles.  The  shape  is  similar  to  that  for  which 
Cellini  was  famous.*  This  treasure  is  now  deposited  in  the  Biblio- 
theque  nationale  at  Paris.  Another  of  the  treasures  of  this 
institution  is  the  well-known  Patere  de  Rennes,  a  shallow  gold 
bowl  ten  inches  in  diameter,  and  weighing  forty  troy  ounces, 
which  was  discovered  at  Rennes  in  the  year  1777.  In  the  centre 
*  King's  "  Natural  History  of  Precious  Stones,"  1865,  p.  81. 

C 


(Fig.  9.)    GOLD    EAKKING. 

\_Found  in  the  Island  of  Rhodes.  \ 


T  8  Gold  and  Silver  Smiths'  Work. 

is  an  "  emblema,"  a  spirited  scene  containing  eight  figures,  and 
representing  the  drinking-match  of  Bacchus  and  Hercules.  This 
scene  is  enclosed  within  a  frieze,  displaying  in  low  relief  the 
triumph  of  Bacchus  over  his  competitor.  The  broad  rim  is 
adorned  with  equidistant  garlands,  alternately  of  acanthus  and 
laurel.^     This  magnificent  object  is  of  special  interest  as  giving  a 


{.Fig.  lo.)  SILVER  PATERA.     \_Found at  HildesJievn.'\ 

faint  idea  of  that  profusion  of  gold  plate  which  glittered  on  the 
sideboards  of  the  Roman  nobles  after  Pliny's  day. 

One  of  the  most  remarkable  discoveries  of  Roman  silver  plate 
was  made  in  1869  by  some  German  soldiers  under  the  hill  above 
the  city  of  Hildesheim  in  Hanover.  This  treasure  is  now  in  the 
museum  of  Berlin,  and  consists  of  a  table  service  and  portions  of 
candelabra.  The  best  pieces  are  supposed  to  be  of  a  date  not 
later  than  the  first  century.     Copies  of  the  different  objects  in 

«  King,  pp.  82,  83 


The  Hildesheim  Treasure, 


19 


the  Hildesheim  treasure  made  by  Messrs.  Cristofle,  of  Paris,  are 
in  the  gallery  of  electrotypes  in  the  Architectural  Court  at  the 
South  Kensington  Museum. 

An  open  saucer  with  handles,  called  a  cylix  or  patera,  reprer 
sented  in  Fig.  10,  is  one  of  the  most  beautiful  of  the  series.     The 


{^Fig.  II.)    SILVER   CRATER  OR   MlXING-rUP. 
\_Found  at  Hildesheim^ 


seated  figure  of  Minerva,  leaning  on  a  shield  in  relief  is  partly 
gilt,  and  the  concave  sides  are  ornamented  with  a  delicate  frieze 
of  Greek  flower  and  scroll.  The  vase  (Fig.  12)  is  severely  clas- 
sical in  form  and  ornament.  The  crater  or  mixing-cup  (Fig.  11) 
is  decorated  with  flowing  ornament,  and  forms  a  very  remarkable 

C  2 


20  Gold  and  Silver  Smiths^  Work, 

contrast  to  it  in  ever}^  particular.  Figs.  13  and  14  are  alike  in 
exhibiting  the  Bacchanalian  emblem.  Mr.  Pollen  remarks  that 
this  "  Hildesheim  treasure  illustrates  the  splendour  with  which 
the  kitchen  and  the  sitting-rooms  of  the  Roman   house,   even 


{Pig.  12)  SILVER  VASE.     [^Fojind  at  Hildeskeim.'] 

of  the  cainpaign  tent,  were  furnished."     Silver  stewpans,  like 
those  now  in  use  in  shape,  have  their  handles  elegantly  moulded 


{Fig^.  13.)    SILVER   DRINKING-CUP. 

\_Fou>id  at  Hildesheim.~\ 


into  leaf-work,  ending  in  the  necks  or  heads  of  aquatic   fowls, 
where  they  clip  round  the  edges  of  the  pans.® 

The  Gauls  were  famous  for  the  possession  of  great  quantities 
6  «  Gold  and  Silver  Smiths'  Work,"  by  J.  H.  Pollen,  p.  35. 


Goldwoi^k  of  the  Gauls, 


21 


of  gold,  which  they  made  into  torques  and  armlets.     There  are 
many  allusions  to  these  riches  in  the  classical  writers.     Diodorus 

Siculus,  for  instance, 
specially  remarks  on 
the  abundance  of  gold 
in  the  shrines  and' 
temples  of  these  people. 
In  1832  a  peasant, 
digging  in  a  ruined 
Druidical  circle  in  the 
Commune  of  Vieux- 
bourg,  near  Quentin, 
Brittany/  discovered  a 
hoard  of  torques,  the 
total  value  of  which  was  about  1 000/.  There  were  ten  torques 
and  one  bracelet ;  some  of  them  were  very  elegantly  ornamented 
and  of  great  weight,  the  heaviest  being  49  oz.,  the  others  from 
30  oz.  upwards. 

^  "  Archaeologi^,"  vol,  xxvii.  p.  i. 


(Fig.  14.)   SILVER  DRlNKtNG-BOWL. 
{^Foundat  Hildes/ieiMt.'] 


{Fig.  15.)   ANCIENT   TORQUE  OR   COLLAR. 


Figs.  l6,  17.)   GREEK    EARRINGS,    AND   PORTION   OF  A   NECKLACE   (ENLARGED). 


CHAPTER  III. 

BYZANTINE  AND   EARLY  CHRISTIAN   ART. 

DURING  the  first  three  centuries  of  the  Christian  era  there 
was  little  that  could  be  called  Christian  art ;  but  a  great 
change  occurred  on  the  conversion  of  Constantine  to  Christianity, 
and  the  removal  of  the  seat  of  government  to  Byzantium.  The 
emperor,  under  the  inspirations  of  St.  Sylvestre,  gave  many 
costly  gifts  to  the  Roman  churches;  and  by  the  aid  of  the  Liber 
Poiitificalis  we  are  able  to  obtain  some  detail  of  these  riches,  and 
to  a  certain  extent  restore  the  knowledge  of  the  gold  and  silver 
work  of  this  brilliant  period.  But  the  emperor's  chief  care,  was 
devoted  to  the  temples  of  his  own  city  of  Constantinople,  which 
for  many  years  was  the  harbour  of  refuge  for  those  whose  love 
of  art  continued  through  those  tumultuous  times,  and  was  also 
the  storehouse  of  their  finest  productions.  In  the  early 
simplicity  of  Christianity,  all  that  appeared  fanciful  or  unreal  to 
the  earnest  minds  of  its  first  teachers  was  discouraged  ;  but  the 
imagery  of  paganism  could  not  fail  to  exert  its  influence  when 
the  Christian  religion  was  established. 

The  expensiveness  of  the  material  used  has  naturally  brought 
about  the  destruction  of  the  majority  of  the  work  of  the  early 
ages,  and  little  is  left  to  us  but  such  buried  treasures  as  have 
been  discovered  in  modern  times.     The  intrinsic  value  of  the 


Byzantine  Luxury,  23 

objects  IS  duly  chronicled,  but  little  is  said  to  assist  us  in  forming 
an  idea  of  its  artistic  merit.  We  learn,  however,  that  as  the 
Greeks  cultivated  beauty  and  purity  of  form,  so  the  Byzantine 
artists  sought  their  ideal  of  beauty  in  richness  of  colour,  obtained 
sometimes  by  enamelling,  and  sometimes  by  the  profuse  use  of 
precious  stones. 

Pope  Symmachus,  in  the  first  years  of  the  sixth  century, 
enriched  the  basilica  of  St.  Peter's  at  Rome  by  offerings,  the 
gold  of  which  was  estimated  to  weigh  1 30  lbs.,  and  the  silver 
700  lbs. 

The  triumphs  of  Justinian's  reign  added  largely  to  the 
treasures  of  Constantinople,  amongst  which  was  the  silver 
column  of  Theodosius,  weighing  7400  lbs.,  that  had  been 
removed  and  appropriated  by  Justinian.  Gibbon  describes  the 
golden  thrones  and  other  trophies  of  martial  or  effeminate 
luxury,  which,  after  the  subjugation  of  the  Vandals,  went  to  swell 
the  treasury  of  their  conquerors.  The  church  of  St.  Sophia, 
destroyed  by  the  populace  of  Constantinople,  and  rebuilt  with 
great  magnificence  by  Justinian,  exhibited  in  a  remarkable 
degree  the  prevailing  taste  of  the  day.  The  pillars  of  the 
sanctuary  were  plated  with  massive  silver,  and  the  altar  was  a 
slab  of  marble,  plated  with  gold,  and  set  with  precious  stones 
and  plates  of  enamel,  and  supported  on  columns  covered  with 
massive  plates  of  gold.  When  we  are  further  told  that  the 
canopy  which  stretched  over  the  altar  was  vaulted  with  sheets 
of  silver,  and  rested  upon  four  silver-gilt  columns,  we  cannot  be 
surprised  to  learn  that  4CXX>  lbs.  weight  of  silver  was  used  in 
this  sanctuary. 

Very  few  names  of  the  artificers  of  these  grand  works  have 
come  down  to  us,  although  the  goldsmiths  and  silversmiths  must 
have  been  held  in  high  estimation.^ 

The  collection  of  objects  known  as  the  Treasure  of  Petrossa, 
which  was  dug  up  by  some  peasants  in  1837  on  the  banks  of  the 
river  Argish,  a  tributary  of  the  Danube,  is  of  pure  gold,  and  of 
great  value,  one  of  the  dishes  being  estimated  at  1000/. 
Mr.  Soden  Smith  is  of  opinion  that  these  vessels  are  the  work 

*  A  golden  cross  is  described  as  the  work  of  Marbuinus  in  the  will  of  a 
Bishop  of  Tours  of  the  fifth  century. 


24  Gold  and  Silver  Smiths   Work. 

of  Byzantine  artists,  made  for  military  officers  or  colonists,  who 
were  forced  to  retire  suddenly  before  some  inroad  of  the  Huns. 
The  finders  of  the  treasure  hid  the  various  objects  and  mutilated 
them,  one  massive  round  dish  being  cut  into  four  pieces.  Only 
twelve  of  the  pieces  out  of  the  original  twenty-two  now  remain. 
These  were  exhibited  at  the  Paris  Exhibition  of  1867  in  the 
section  of  Hisioire  du  Travail,  and  were  afterwards  lent  to  the 
South  Kensington  Museum.  They  are  now  in  the  Museum  of 
Antiquities  at  Bucharest.^ 

We  have  much  evidence  besides  the  finding  of  this  treasure  to 
prove  that  the  lavish  expenditure  of  precious  metals  was  not 
confined  to  ecclesiastical  purposes. 

The  taste  for  goldsmith's  work,  says  Labarte,  became  a 
general  passion  about  the  reign  of  Arcadius  (395 — 400).  The 
fabrication  of  sacred  vases  for  the  new  temples  ceased  to  be  the 
principal  productions  of  this  art.  The  emperors  were  the  first  to 
take  the  initiative.  Their  diadem  was  set  with  precious  stones  ; 
their  robe  was  brooched  with  gold  ;  their  armour  and  that  of 
their  principal  officers  was  ornamented  by  gold  work.  Their 
throne  was  of  massive  gold,  their  chariots  and  the  harness  of  their 
horses  were  enriched  with  gold  :  in  short,  their  palaces  rivalled 
the  magnificence  of  the  churches.^ 

Gibbon  remarks  that  according  to  the  invective  of  St. 
Chrysostom  "  an  auction  of  Byzantine  luxury  must  have  been 
very  productive.  Every  wealthy  house  possessed  a  semi-circular 
table  of  massive  silver,  such  as  two  men  could  scarcely  lift,  a  vase 
of  solid  gold  of  the  weight  of  forty  pounds,  cups,  and  dishes  of 
the  same  material." 

There  were  several  schools  of  the  goldsmith's  art  in  various 
parts  of  Western  Europe,  which  followed  the  teaching  and 
example  of  Byzantium.  The  Lombards,  after  their  conquest  of 
Rome,  soon  became  well  skilled  in  the  art ;  and  Queen  Theodo- 
linda,  in  the  early  part  of  the  seventh  century,  presented  to  the 
cathedral  of  Monza  a  box  containing  a  selection  from  the  Gospels, 
With  the  celebrated  iron  crown  of  the  Lombard  kings  (Fig.  18). 

2  Electrotype  casts  of  these  twelve  pieces  may  be  seen  in  the  South 
Kensington  Museum. 
2  Labarte,  "  Histoire  des  Arts,"  i.  285. 


Goldwork  of  the  Lombards. 


25 


This  crown  was  composed  of  six  equal  pieces  of  beaten  gold 
joined  together  by  close  hinges,  and  set  with  large  rubies, 
emeralds,  and  sapphires,  on  a  ground  of  blue  and  gold  enamel. 


(Fig.  18.)   THE   IRON    CROWN   OF   THE   LOMBARDS. 

\In  the  Cathedral  o/Monza^ 


It  takes  its  name  from  the  iron  ring,  said  to  have  been  made 
from  one  of  the  nails  of  the  true  cross,  which  was  inserted  within 
it.     Napoleon  I.  used  this  relic  when  he  was  crowned  King  of 

Italy  at  Milan  on  the  23rd  May, 
1805. 

A  superior  specimen  of  Lom- 
bard workmanship  was  thecrown 
of  Agilulph,  the  husband  of 
Theodolinda  (Fig.  19).  Labarte 
gives  a  description  of  this  crown, 
which  was  taken  to  Paris  in 
1799,  ^ft^^  the  conquest  of  Italy. 
In  1804  it  was  stolen  from 
the  Bibliotheque  Imp^riale  and 
melted  down.  The  circumfer- 
ence of  the  circle  was  occupied 
by  fifteen  figures,  Christ  between 
two  angels  and  the  twelve  apos- 
tles. Each  figure  was  placed 
under  an  arcade  composed  of  a 
{Fig.  ig.)  CROWN  OF  AGILULPH,  viTH  CENTURY,  wrcath  of  Icavcs  and  supported 

by  twisted  columns.     The  upper 
edge  of  the  circle  was  enriched  by  fine  stones  and  pearls ;  the 


56  Gold  and  Silver  Smiths   Work. 

under  edge  contained  this  inscription,  declaring  the  gift  which 
Agilulph  had  made  of  this  crown  to  the  church  of  St.  John  : 
AGILULF.  GRAT.  DI.  VIR.  GLOR.  Rex.  Totius.  ITAL. 
offeret.  SCO.  JOHANNI.  BAPTISTAE.  in.  ECCL.  MO- 
DICIA.^ 

The  Treasure  of  Guerrazzar,  which  was  found  by  some  peasants 
while  bringing  under  cultivation  a  deserted  cemetery  at  Fuente 
di  Guerrazzar,  two  leagues  from  Toledo,  bears  good  evidence  of 
the  state  of  the  goldsmiths'  art  in  Spain  in  the  seventh  century. 
The  employer  of  these  workmen  was  a  Frenchman,  and  he 
transferred  the  treasure  to  France,  where  he  sold  it  to  the 
French  Government,  who  deposited  it  in  the  Hotel  Cluny.  The 
treasure  consists  of  nine  crowns  of  different  sizes,  made  of  the 
purest  gold,  some  hammered  in  relief;  three  crosses  of  the 
same  style ;  an  emerald  rudely  engraved  with  an  Annun- 
ciation, and  various  fragments  of  hammered  gold  with  chains 
fastened  to  them,  by  which  they  appear  to  have  been  hung 
over  an  altar.  It  was  the  custom  for  each  king  in  those 
days  to  present  a  crown  to  the  cathedral  of  the  city  in  which 
he  lived,  bearing  an  inscription  relating  to  his  life  and  reign. 
Most  of  the  crowns  in  the  Guerrazzar  treasure  appear  to  have 
been  of  this  Votive  character  (Fig.  20)  ;  one  of  them  bears  the 
name  of  King  Suinthila  (621 — 631),  and  another  the  legend 
of  King  Reccesvinthus  (649 — 672). 

One  of  the  crosses  is  of  the  greatest  interest,  as  an  inscription 
records  its  dedication,  by  Sonnica,  in  the  church  of  S.  Maria,  in 
Sorbaceis  (in  the  grove  of  sorb-apples),  supposed  to  be  the  pre- 
sent S.  Maria  de  Abaxo,  placed  at  the  foot  of  the  hill  on  which 
stands  the  city  of  Toledo.^ 

The  articles  of  the  treasure  of  Guerrazzar  have  nothing 
approaching  the  coarse  jewellery,  nor  the  rude  goldsmiths'  work 
of  the  barbarians  who  came  from  Germany  and  invaded  Gaul, 
Italy,  and  Spain  in  the  fifth  century.  On  the  contrary,  they  are 
the  product  of  an  art  far  advanced.     They  discover  a  style  quite 

*  Labarte,  "  Histoire  des  Arts,"  &c.,  i.  234. 

^  A  full  description  of  the  treasure,  with  facsimiles  the  actual  size  of  the 
objects  in  chromolithography,  has  been  published  by  M.  Lasteyrie,  Paris, 
i860. 


(Fig.  ao.)   THE  CKOWNS  OF  GUESKAZZAR,  VIITH  CK.NTl'RV. 
iln  the  mtel  Ciuny.-] 


i 


28  Gold  and  Silver  Smiths   Work, 

in  keeping  with  that  which  the  Romans  have  bequeathed,  and 
with  the  rich  and  elegant  productions  of  Byzantine  art/ 

The  goldsmiths'  art  continued  to  flourish  in  Spain  for  many 
centuries  after  the  period  when  the  various  objects  in  this  trea- 
sure were  worked.  Mr.  Juan  Riano,  in  describing  the  work  of 
the  goldsmiths  of  Spain/  refers  more  particularly  to  two 
crosses,  and  a  casket  to  contain  relics  preserved  in  the  camera 
santa  of  Oviedo.  The  cruz  de  los  angelos  is  formed  of  gold 
plates,  with  filigree  and  precious  stones,  and  is  dated  A.D.  8o8. 
The  cricz  de  la  victoria  was  made  A.D.  908,  and  part  of  the  orna- 
mentation of  the  silver  plates  of  the  area  santa  belongs  to  the 
seventh,  while  the  rest  was  added  at  the  end  of  the  eleventh 
century. 

A  noted  goldsmith  of  the  seventh  century  was  Abbo,  master 
of  the  mint  to  Clothaire  II.,  who  educated  several  pupils  to 
follow  his  art,  and  left  a  sufficient  sum  at  his  death  to  carry  out 
his  cherished  object  of  covering  the  altar  of  Auxerre  with  gold 
and  precious  stones.  Limoges,  the  city  so  famous  in  later  years 
for  its  enamels,  was  the  scene  of  the  early  life  of  the  famous 
Eligius,  or  St.  Eloy  (588 — 659).  A  simple  artisan,  learning  his 
craft  under  the  guidance  of  Abbo,  he  rose  to  great  distinction, 
and  is  credited  with  many  marvellous  pieces  of  workmanship.  He 
was  charged  with  a  commission  to  make  a  gold  throne,  enriched 
with  precious  stones,  for  Clothaire  II.  But  with  the  gold  which 
he  had  received  from  the  king  for  the  work,  he  not  only  produced 
the  throne  ordered  by  the  king,  but  another  one  besides,  and  the 
story  of  the  king's  astonishment  at  the  work  is  told  dramatically 
by  Audoenus,  in  his  life  of  St.  Eloy,  with  whom  he  was  contem- 
porary. Many  early  historians  have  treated  this  production  of 
the  two  thrones  as  a  miracle  on  the  part  of  the  saint,  but  Mons. 
Lenormant  has  set  the  matter  at  rest  by  proving  that  St.  Eloy 
knew  the  value  of  alloy  in  hardening  the  gold,  and  that  by  this 
means  he  had  more  material  on  hand  than  enough  for  the  one 
throne  originally  ordered  by  the  king.^     Among  the  many  works 

^  Labarte,  "  Histoire  des  Arts,"  i.  282. 

7  "  Classified  and  Descriptive  Catalogue  of  the  Art-Objects  of  Spanish 
production  in  the  South  Kensington  Museum,"  1872. 

8  Labarte,  "  Histoire  des  Arts,"  i.  244. 


Goldsmiths   Work  in  France,  29 

executed  by  St.  Eloy,  both  for  Clothaire  and  for  Dagobert  L,  the 
principal  is  a  large  gold  cross  inlaid  with  precious  stones,  for  the 
church  of  St.  Denis. 

Hinckmar,  Bishop  of  Reims,  in  this  century  enriched  his  new- 
cathedral  with  a  magnificent  shrine,  destined  to  receive  the  relics 
of  St.  Remi,  which  was  overlaid  with  silver  plates,  and  over- 
shadowed by  large  figures.  Labarte  also  mentions  the  shrine  of 
St.  Genevieve,  St.  Germain,  St.  Severin,  St.  Colombus,  St.  Julien, 
and  one  of  surpassing  workmanship  for  the  relics  of  St.  Martin, 
of  Tours,  executed  entirely  in  gold,  and  studded  with  precious 
stones,  and  known  by  the  name  of  miro  opificio. 

Much  of  the  goldsmiths*  work  which  existed  in  France  until 
the  final  dispersion  of  treasures,  at  the  period  of  the  great  Revolu- 
tion in  1792,  was  attributed  to  St.  Eloy,  and  although  Labarte 
considers  some  of  it  very  questionable,  he  instances  the  treasure 
of  the  abbey  of  St.  Denis  as  containing  genuine  relics  of  St.  Eloy's 
work.  In  the  year  640  the  saint  was  made  Bishop  of  Noyon, 
and  during  the  remainder  of  his  life  he  encouraged  the  workers 
in  gold  and  silver  in  every  possible  way.  In  the  monastery  of 
Solignac  (or  Solemniac),  founded  by  him,  artists  of  every  kind 
were  invited  to  take  the  vows ;  and  St.  Eloy  himself,  assisted  by 
Thillo,  one  of  his  pupils,  directed  the  education  of  the  younger 
monks  who  were  to  become  goldsmiths. 

The  Franks,  Burgundians,  and  Germans,  who  burst  upon  the 
Roman  empire  in  successive  waves,  were  essentially  warriors,  and 
attached  great  importance  to  the  beauty  of  their  arms.  Accord- 
ingly, there  is  quite  an  epoch  in  the  history  of  goldsmiths'  work, 
represented  by  the  remains  of  this  age,  buckles,  hooks,  plates, 
and  different  ornaments,  which  evidently  served  for  the  decora- 
tion and  equipment  of  horses  and  their  warrior  riders.  Labarte 
in  his  "  Histoire  des  Arts"  gives  many  specimens  of  this  work 
(i.  264,  et  seq.). 

The  workers  in  precious  metals  found  in  Charlemagne  a  muni- 
ficient  patron,  who  not  only  himself  gave  largely  to  the  churches 
he  founded  or  restored,  but  encouraged  others  to  do  the  same. 
He  also  loved  to  be  surrounded  by  gorgeous  objects,  and  in  his 
will  mention  is  made,  among  other  treasures,  of  three  tables  of 
silver  and  one  of  pure  gold,  all  four  richly  chased  or  hammered. 


30  Gold  and  Silver  Smiths   Work, 

His  funeral  too  was  a  type  of  his  life.  His  body  was  placed  in 
a  coffin  of  gold,  and  deposited  in  the  principal  rOom  of  the  palace 
at  Constantinople,  on  an  elevated  stage,  which  was  surrounded  by 
a  great  number  of  candelabra  of  gold.^  His  imperial  crown 
(Fig.  2i)  has  been  preserved  for  use  in  the  coronation  of  succes- 
sive emperors,  and  is  now  deposited  with  the  regalia  at  Vienna, 
a  monument  of  antiquity  of  the  greatest  interest.     It  is  octa- 


{Fig.  21.)    DIADEM    OF    CHARLEMAGNE. 

[/«  tJie  hnperial  Treastiry  at  Vienna.l 

gonal,  formed  of  eight  round-headed  plaques  of  pure  gold,  four 
of  them  being  nearly  six  inches  high,  and  four  smaller,  these  are 
placed  alternately.  The  larger  plates  are  set  with  large 
stones,  and  the  smaller  ones  with  enamels,  representing 
Solomon,  David,  Isaiah  before  Hezekiah,  and  Christ  between 
seraphim.  Above  all  rises  a  Greek  cross,  also  set  with  large 
9  Labarte,  "  Histoire  des  Arts,"  i.  284. 


Altars  in  Italy.  31 

stones,  from  which  springs  an  arch,  like  a  flying  buttress,  giving 
strength  to  the  whole  crown.  There  are  traces  of  a  second 
arch  on  the  back  of  the  side  plates,  which  probably  crossed  the 
existing  one.  This  upper  portion  is  apparently  of  a  later  date 
than  the  original  structure,  as  it  is  inscribed  in  pearls  with  the 
legend,  "Chouonradvs  Dei  gratia  Romanorvm  Imperator 
Aug."  As  Conrad  III.  was  crowned  in  the  year  11 38,  the  date 
of  the  additions  must  be  fixed  as  late  as  the  twelfth  century. 

One  of  the  most  magnificent  relics  of  ancient  art  that  has 
come  down  to  our  time  is  the  high  altar  in  the  church  of  St. 
Ambrozio  at  Milan,  which  was  the  work  of  one  Master  Wolvinus 
in  the  ninth  century.  It  is  of  silver,  partly  gilt,  and  in  the  front 
are  set  in  great  profusion  precious  stones,  and  plaques  of  enamel. 
Figures  of  Christ,  the  evangelists,  and  the  apostles,  with  scenes 
from  the  life  of  the  Saviour  are  here  represented.  In  the  side 
panels  there  are  twelve  compositions  representing  the  election  of 
St.  Ambrose  to  the  see  of  Milan,  and  other  acts  of  his  life. 
This  grand  work  was  executed  in  the  year  835,  and  was  a  peace 
offering  from  Angilbert  II.,  Archbishop  of  Milan,  to  atone  for 
the  profanation  of  the  relics  of  St.  Ambrose,  of  which  he  had 
been  guilty. 

Another  beautiful  example  of  the  goldsmiths'  art  is  the  un- 
doubted work  of  Byzantine  artists  in  the  succeeding  century.  It 
is  known  as  the  Pala  d'oro,  and  is  on  the  high  altar  of  St.  Mark's, 
Venice.  It  is  of  pure  gold,  surrounded  by  borders  enriched  with 
stones  and  medallions,  and  divided  by  little  arches  or  square 
panels  into  eighty-three  pictures  inlaid  on  a  ground  of  gold.  It 
is  adorned  with  representations  of  scenes  out  of  Old  and  New 
Testament  history,  and  with  figures  of  saints.  The  order  for 
this  gold  and  enamelled  altar  was  given  by  the  Republic  of 
Venice,  under  the  Doge  Pietro  Orfeolo  in  the  year  976.  It  was 
constructed  at  Constantinople,  and  afterwards  renewed  in  1 105, 
so  that  much  of  the  execution  belongs  to  the  early  part  of  the 
twelfth  century ;  and,  moreover,  it  has  been  frequently  restored 
since  that  period. 

Another  superb  work  of  the  end  of  the  tenth  century,  which 
requires  a  passing  notice  here,  is  the  golden  altar  which  the 
archbishop  of  Sens  presented  to  his  church  in  the  year  999.     It 


32  Gold  and  Silver  Smithi  Work, 

was  the  production  of  the  most  skilled  artificers  of  his  diocese, 
and  remained  in  its  place  until  it  was  sold  by  Louis  XV.  to 
defray  his  war  expenses. 

Although  our  own  islands  were  somewhat  removed  from  the 
influence  of  those  arts  which  spread  over  the  rest  of  the  continent 
during  the  early  centuries  of  our  era,  yet  a  sufficient  number 
of  objects  have  been  preserved  to  show  that  the  inhabitants  were 
not  without  considerable  skill  in  the  treatment  of  the  precious 
metals.  Mr.  Roach  Smith  remarks  that  the  jewellery  of  the 
Saxons  from  the  middle  of  the  fifth  century  shows,  "  in  artistic 
merit,  in  style,  and  design,  a  closer  relationship  to  classical  or 
Roman  art  than  those  from  other  parts  of  the  kingdom."  In 
another  place  he  says,  "  The  girdles  of  the  Franks  and  Saxons  of 
distinction  were  usually  ornamented  most  profusely.  Not  only 
were  the  buckles  often  of  the  richest  workmanship,  and  con- 
spicuous for  size  and  decoration,  but  they  are  sometimes  supple- 
mented by  enchased  plates,  or  plates  set  with  precious  stones." 

The  ring  of  King  Ethelwulf,  which  dates  from  the  eighth  cen- 
tury, was  found  at  Laverstock,  in  Hampshire,  and  is  preserved 
in  the  British  Museum.  It  is  of  gold,  with  dark  blue-black 
enamel,  bearing  the  name  of  the  king,  and  Laborde  believes  it 
to  be  certainly  of  Saxon  workmanship.  Alcuin,  the  world- 
renowned  scholar,  did  much  to  advance  the  goldsmiths'  art.  He 
made  a  journey  to  Italy  specially  to  confer  with  Charlemagne 
on  the  methods  in  use  among  the  artificers  who  were  devoted 
to  the  arts  employed  in  the  service  of  religion.  In  the  following 
century  Alfred  the  Great  greatly  encouraged  goldsmiths,  and 
in  his  prime  made  use  of  that  technical  knowledge  which  he  had 
acquired  when  he  visited  Italy  in  his  youth.  His  celebrated 
jewel  (Fig.  22),  found  at  Athelney,  in  Somersetshire,  whither  he 
had  fled  from  his  enemies  in  the  year  ^jZ,  and  where  he  founded 
an  abbey,  is  now  preserved  in  the  Ashmolean  Museum  at  Oxford. 
It  is  of  gold,  richly  wrought  with  filigree,  chasing,  and  engraving, 
the  face  being  formed  of  a  piece  of  rock  crystal,  four-tenths  of 
an  inch  thick.  The  legend  round  the  edge  is,  "  Aelfred  MEC 
HEHT  GEVVR  CAN  "  (Alfred  ordered  me  to  be  wrought). 

A  large  variety  of  golden  jewels,  mostly  personal  ornaments, 
have  been  discovered   in  Ireland,  but  unfortunately  the  greater 


Celtic  School  of  Art, 


Zl 


number  of  them  have  found  their  way  to  the  melting-pot. 
Sufficient  has,  however,  been  preserved  to  prove  that  the  gold- 
smiths of  Ireland  produced  work  in  the  ninth  and  tenth  centuries, 
which  was  not  surpassed  by  their  fellow-workmen  in  the  rest  of 
Europe.  A  two-handed  chalice,  made  of  silver,  alloyed  with  one- 
third  part  of  copper,  which  was  found  at  Ardagh,  near  Limerick, 
is  a  fine  example  of  their  skill.  It  is  decorated  with  filigree 
gold,  and  ornamented  in  a  great  variety  of  ways.     Crystals  and 


\Fig.  22.)  KING  Alfred's  jewel 
[/»  tAf  Ashmolean  Museum,  Ox/ordJ] 


pastes,  as  well  as  bosses  of  various  kinds  of  enamel,  are  dis- 
tributed over  the  surface  in  the  most  effective  manner.  Lord 
Dunraven  remarks  that  "  the  ornamental  designs  on  this  cup 
belong  to  the  Celtic  school  of  art,  which,  according  to  Dr.  Petrie, 
reached  its  highest  perfection,  as  regards  metallurgy,  in  this 
country  (Ireland)  in  the  tenth  and  eleventh  centuries."  Dr. 
Petrie  reports  to  the  Royal  Irish  Academy  upon  the  Royal  Tara 
Brooch,  found  near  Drogheda  (Fig.  23),  that  a  peculiarity  of  this 

D 


34 


Gold  and  Silver  Smiths   Work. 


brooch  is  the  attached  chain,  which  is  intended  to  keep  the  pin 
tight  and  in  its  proper  position.  This  chain,  which  is  of  silver,  is 
of  that  pecuHar  construction  known  as  Trichinopoli  work  ;  but  it 
is  not  the  only  example  of  the  manufacture  of  such  chains  in 
Ireland.  Of  the  patterns  of  these  brooches,  it  has  been  found 
that  there  are  no  less  than  seventy-six  varieties,  all  of  which 
exhibit  an  admirable  share  of  ornamental  beauty.  As  to  the 
age  to  which  these  exquisite  specimens  of  art  should  be 
assigned)  Dr.  Petrie  inclines  to  the  opinion  that  they  are  of  the 
eleventh  or,  perhaps^  the  beginning  of  the  twelfth  century. 
Copies  of  the  Tara  and  other  brooches  were  exhibited  in  the 
Great  Exhibition  of  i8|i. 


{Fig.   23.)  TARA  BROOCH  (FOUND  NEAR  DROGHEDA). 

\_Royal  Irish  Academy. "X 


{Fig.  24.)    GOLDEN   ALTAR-TABLE    MADE   FOR   THE   EMPEROR    HENRY   II 

[In  the  Musee  Cluny,  Paris  {/ortnerly  at  Bale). 2 


CHAPTER  IV. 


THE  ELEVENTH   CENTURY   TO   THE  RENAISSANCE. 

DURING  the  tenth  century  war  was  so  general  in  Europe 
that  there  was  little  encouragement  for  the  artistic 
worker,  and  the  old  order  of  things  was  followed  by  a  state  of 
gloom  and  apathy.  With  the  eleventh  century,  however,  a  new 
spirit  was  awakened,  and  artists,  tired  of  following  dead  tradi- 
tions, attempted  to  create  for  themselves  new  forms  and  designs. 
Increased  intercourse  between  nations  widened  the  scope  of  the 
goldsmith's  art ;  and  when  the  restlessness  of  the  age  culminated 
in  the  first  Crusade,  the  impetus  given  to  all  trades  was  most 
extensively  felt  by  the  workers  in  silver  and  gold,  who  supplied 
the  church  with  such  objects  as  were  considered  necessary  for 
its  services.  One  of  the  most  important  works  of  the  early  part 
of  this  century  known  to  us,  is  the  golden  altar-table  (Fig.  24) 
presented  to  the  Minster  at  Basle  by  the  Emperor  Henry  ll.,  sur- 
named  "  the  lame,"  also  "  the  pious,"  and  "  the  Hungarian  apostle" 

D  2 


36  Gold  and  Silver  Smiths   Work. 

(b.  972,  d.  1024).  This  altar-table  is  between  five  and  six  feet 
wide  ;  the  principal  part  consists  of  a  colonnade  resting  on  belted 
columns  ;  under  the  arches  are  images — hammered  up  in  relief — 
of  the  Saviour  and  the  three  archangels,  Gabriel,  Raphael,  and 
Michael,  with  St.  Benedict.  At  the  foot  of  Christ  the  emperor 
and  his  empress — St.  Cunegunda — are  represented  on  a  small 
scale  as  lying  prostrate.  This  altar  was  bought  by  the  French 
government,  and  is  now  preserved  at  the  Hotel  Cluny,  in 
Paris. 

Although  made  at  the  beginning  of  the  eleventh  century,  when 
the  Byzantine  style  was  slowly  dying  out,  the  characteristics  of 
that  school  are  strongly  marked,  both  in  its  general  design  and 
in  its  details.  Another  handsome  work  of  the  same  kind,  made 
in  the  twelfth  century,  and  still  preserved  in  the  abbey  church  of 
Comburg,  near  Hall,  in  Suabia,  is  also  a  piece  of  true  Byzantine 
design. 

The  most  venerable  relic  of  regular  Byzantine  art,  however,  is 
the  crown  of  Hungary,  which  was  sent  in  the  year  1072  by  the 
Emperor  Michael  Ducas  to  Geisa,  the  first  Duke  of  Hungary. 
It  is  formed  by  a  broad  flat  band  of  fine  gold,  whence  springs 
an  arch,  supporting  a  cross.  Four  enamelled  portraits  are  set  at 
the  springing  of  the  arches,  which  close  the  top  of  the  crown,  and 
on  the  front  of  the  band  itself  are  placed  four  smaller  enamels 
of  the  angels  Michael  and  Gabriel,  of  St.  Cosmus,  St.  Damien, 
St.  George,  and  St.  Demetrius. 

The  two  last  figures  are  of  the  most  interest ;  the  one  represents 
a  young,  beardle.ss  man  bearing  the  imperial  crown,  and  holding  a 
sceptre  composed  of  a  rod,  which  surmounts  a  sort  of  labarum 
(Constantine's  imperial  standard).  The  other  figure  is  that  of  an 
older  man,  having  a  long,  well-formed  beard  ;  he  is  crowned  by  a 
circle  of  gold  set  with  gems,  and  holds  with  one  hand  a  sceptre 
presenting  the  aspect  of  a  cross,  and  in  the  other  a  sword.  Under 
each  figure  there  is  an  inscription  in  Greek  capital  letters. 1 

The  large  monasteries  spread  over  Europe  became  at  this  time 

busy  workshops  for  the  production  of  all  those  objects  in  gold  and 

silver  and  bronze,  which  were  required  for  the  use  and  adornment 

of  the  churches  that  were  rising  on  all  sides.     A  very  celebrated 

^  Labarte,  "  Histoire  des  Arts,"  i.  327-9. 


Monastic  Artists. 


J/ 


school  of  goldsmiths  was  formed  during  the  eleventh  century  at 
Hildesheim,  in  Hanover ;  and  Bishop  Bernward  {992 — 1022) 
himself  made  with  his  own  hand  a  crucifix  of  gold  set  with  stones, 
and  a  chalice  set  with  antique  cameos  and  gems,  which  are  pre- 
served in  the  treasury  of  the  cathedral  at  Hildesheim.  Casts  of 
candlesticks,  also  executed  by  the  bishop  in  alloyed  metal,  are  to 
be  seen  in  the  South  Kensington  Museum.  His  scholars,  and 
Hezilo  his  successor,  made  large  coronas,  or  circlets  of  light,  for 
the  nave  and  choir  of  the  cathedral,  which  were  greatly  ad- 
mired. Parts  of  these  circles  were  silver  gilt,  pierced  and  chased 
in  a  series  of  patterns,  arcades,  and  rolling  scrolls  of  leaf-work, 
with  twelve  large  towers,  each  containing  four  images,  and 
representing  the  circuit  of  the  heavenly  Jerusalem,  and  twelve 
smaller  niches  with  images  of  the  apostles  in  silver.^ 

In  the  year  ion  a  crucifix  of  gold,  said  to  weigh  as  much  as 
600  lbs.,  was  presented  by  the  Archbishop  of  Mayence  to  the 
cathedral  of  that  place.  It  was  of  exquisite  workmanship  ; 
and  the  figure  was  so  put  together  that  every  limb  was  movable 
at  the  joints.     The  eyes  were  formed  of  precious  stones. 

Much  activity  was  shown  in  Italy,  as  well  as  in  all  the  other 
countries  of  the  Christian  world,  to  replenish  the  churches  with 
beautiful  vessels.  The  great  Benedictine  monastery  of  Monte 
Cassino  obtained  a  large  number  of  precious  objects  from  Constan- 
tinople, and  its  example  was  followed  by  the  abbey  of  Subiaco. 
Schools  of  metal  work  were  founded  in  these  places  ;  and  John, 
the  thirty-second  abbot  of  the  latter  establishment,  is  reported  to 
have  made  an  image  of  gold  and  silver,  a  chalice,  and  many 
other  beautiful  objects,  at  the  end  of  the  eleventh  century. 

Spanish  goldsmiths  produced  in  the  eleventh  century  one  of  the 
most  magnificent  works  of  that  age.  This  is  the  high  altar  of  the 
cathedral  ofGerona,  in  Cataluna,  which  is  described  by  Mr.  Juan 
Riano.'  "It  is  of  alabaster,  and  is  covered  on  three  sides  with 
silver  plates,  fastened  on  wooden  boards,  while  in  front  the  plates 
are  of  gold.     It  is  decorated  with  figures  in  relief,  representing 

*  A  cast  of  one  of  these  chandeliers  is  exhibited  in  the  South  Kensing»:on 
Museum. 

'  "  Classified  and  Descriptive  Catalogue  of  the  Art-Objects  of  Spanish 
Production  in  the  South  Kensington  Museum." 


38 


Gold  and  Silver  Smiths   Work. 


subjects  from  the  life  of  our  Lord,  the  blessed  Virgin,  and 
saints.  In  the  centre,  towards  the  bottom,  there  is  a  female 
sphinx  on  green  enamel,  with  the  l^gQudjussit  fieri  Gitisla  Co7iii- 
tissa  (who  died  1035).  Between  the  figures  and  borders  precious 
stones  are  set,  some  of  them  antique.  The  retable  over  the  altar 
is  also  of  silver  plates,  with  figures  and  religious  subjects,  made 


{Fig.   25.)    SHRINE    OF    THE   THREE   KINGS    IN    COLOGNE   CATHEDRAL,    XIITH    CENTURY. 


in  the  fourteenth  century  by  Pedro  Benes,  or  Barners,  a  silver- 
smith of  Valencia." 

The  best  examples  of  goldsmiths'  work,  in  England,  were 
to  be  found  in  the  abbeys  and  churches,  and  Labarte  particu- 
larly mentions  the  monastery  of  Ely,  the  abbey  of  Evesham, 
the  cathedrals  of  Canterbury  and  St.  Albans,  as  having  possessed 
magnificent  examples  of  the  art.  At  Ely  Brithnodus  the  first 
abbot  himself  made  four  statues,  which  he  placed  near  the 
altar,  and  had  executed  by  his  order  a  splendid  crucifix  of  silver. 


(Fig.   a6.)  CHASSB  OF  ST.  TAURIBN,  XTH  CENTURY. 


40  Gold  and  Silver  Smiths   Work. 

Mannius,  abbot  of  Evesham,  was  the  author  of  some  magnificent 
pieces  for  Canterbury  Cathedral/ 

When  the  Crusaders  returned  home  from  the  Holy  Land 
loaded  with  relics,  the  want  of  receptacles  worthy  to  receive 
these  sacred  treasures  was  necessarily  felt,  and  a  great  impetus 
was  thus  given  to  the  art  of  the  goldsmith  and  silversmith.  Relic- 
holders  were  made  in  a  great  variety  of  forms  ;  but  the  large 
shrines,  intended  to  contain  whole  bodies  of  saints,  were  usually 
constructed  like  a  sarcophagus,  with  a  sloping  or  gabled  roof 
They  were  usually  made  of  wood  overlaid  with  gold  plates  or 
silver-gilt,  and  the  flat  surfaces  were  covered  with  embossed 
figures,  and  ornamented  with  precious  stones,  filigree,  and  enamel. 

The  Shrine  of  the  Magi  at  Cologne,  containing  the  supposed 
skulls  of  the  so-called  three  kings,  is  of  a  very  elaborate  charac- 
ter, being  formed  like  a  church  with  low  side-aisles.  It  is  un- 
surpassed by  any  other  object  of  the  same  kind  in  architectonic 
treatment  and  richness  of  decoration.  The  length  of  the  shrine 
is  5  ft.  6  in;,  the  height  5  ft,  and  the  width  3  ft.  The  cornice 
bands  round  the  structure  are  of  gold,  and  the  other  architec- 
tural details  covered  with  enamels  and  precious  stones  ;  the  cover 
or  upper  part  being  silver-gilt  (Fig.  25).  This  grand  work  was 
commenced  by  order  of  Archbishop  Philip  von  Heinsberg,  in  the 
year  1191. 

The  celebrated  abbot  of  St.  Denis,  Suger  (died  1152),  who 
was  also  minister  of  Louis  le  Gros,  and  regent  of  the  kingdom 
under  Louis  VIL,  was  one  of  the  greatest  encouragers  of  art  in 
the  age  in  which  he  lived.  He  enriched  his  church  with  many 
valuable  gifts,  some  of  which  are  preserved  in  the  Louvre,  but 
a  far  larger  number  have  been  destroyed.  Two  shrines  which 
he  caused  to  be  erected  in  1144,  for  the  reception  of  the  ashes 
of  St.  Denis  and  his  companions,  caused  the  greatest  enthusiasm 
among  contemporary  princes  and  nobles,  who  vied  with  each 
other  in  the  splendour  of  their  contributions  towards  this  object. 
Labarte  mentions  two  specimens  of  Suger's  work  as  specially 
illustrating  the  French  art  of  this  period.  The  first  is  a  crystal 
vase,^   mounted    in  silver-gilt,   the   neck   and   the  base  being 

"*  Labarte,  *'  Histoire  des  Arts,"  i.  394. 

^  Of  this  vase  Labarte  gives  an  illustration. 


(J'^ig.  a/.)    RELIQl'ARY  OF  COPPBRCILT,    GKRMAN,    XIITH    CENTURY. 

\^From  the  BasiUwski  colUcHon.'} 


42  Gold  and  Silver  Smiths'  Work, 

enriched  with  precious  stones.  The  second  is  a  vase  of 
porphyry,  which  was  long  preserved  in  the  abbey,  shut  up  in  a 
casket.  Suger  mounted  it  in  silver  plate  in  the  form  of  an  eagle, 
to  contain  relics.*' 

The  cathedral  at  Aix  la  Chapelle  possesses  a  most  beautiful 
specimen  of  those  shrines  which  were  constructed  in  the  form  of  an 
edifice.  This  shrine  was  commenced  by  the  orders  of  Frederic  Bar- 
barossa  before  1220  and  completed  about  1237.  It  represents  a 
long  nave  with  two  transepts,  thus  giving  the  form  of  a  cross,  and 
is  surmounted  by  a  roof  of  two  sides.  Twelve  gables,  distributed 
under  the  front  of  the  monument,  support  statues  of  the  apostles. 
Larger  statues  representing  Christ,  the  Virgin  Mary,  the  Pope 
St.  Leo,  and  Charlemagne,  ornament  the  four  fa9ades  ;  they  are 
placed  under  a  rich  arcade  which  surmounts  the  pointed  gable. 
Filigree  work  of  graceful  foliage,  and  enamels  of  brilliant  colours, 
enrich  all  parts  of  this  splendid  monument.' 

The  "  Chasse  de  St  Taurien,"  represented  in  the  engraving 
on  a  previous  page  (Fig.  26),  is  a  highly  elaborate  specimen  of 
these  architectural  reliquaries. 

Another  reliquary  of  a  different  form  is  shown  in  the  last 
illustration  (Fig.  27).  It  is  an  elaborate  specimen  of  German 
work  of  the  twelfth  century,  made  of  copper,  and  richly  gilt. 
It  is  from  the  Basilewski  collection. 

As  already  remarked,  reliquaries  were  made  of  every  possible 
form,  and  naturally  a  cross  was  one  of  the  most  general. 

A  reliquary  cross  of  copper-gilt  (Fig.  28),  of  very  beautiful 
Byzantine  design,  ornamented  with  filigree  work,  is  now  preserved 
in  the  Hotel  Cluny,  Paris. 

Of  the  various  vessels  necessary  for  the  service  of  the  church 
the  chalice  is  the  most  important,  and  it  is  very  instructive  to 
notice  the  change  of  form  in  this  vessel  during  successive 
centuries.  For  the  purpose  of  bringing  the  illustrations  of  some 
of  these  varieties  together,  it  will  be  necessary  to  depart  a  little 
from  the  strict  chronological  order.  We  find  during  the 
Romanesque  period  attention  paid  more  to  colour  and 
richness  of  pictorial  decoration,  and  a  comparative  neglect  of 

^  Labarte,  "Histoire  des  Arts,"  i.  410. 
7  Ibid.  ii.  5. 


(/*/>.  a8.)   RKLIQUARV  CROSS,   BYZANTINE,   ORNAMENTED  WITH   FILICRBE  WORK  AND  JEWELS. 
[/« tht  mui  Cluny,  Paris.-\ 


44 


Gold  and  Silver  Siniths'  Work. 


form  ;  while  in  the  Gothic  period  the  form   was  improved  and 
the  ornamentation  reduced.     The  contour  became  sh'mmer  and 

more  beautiful,  the  member- 
ing  finer,  and  such  ornament 
as  was  introduced  was  archi- 
tectonic in  character. 

The  first  illustration  (Fig. 
29)  represents  the  oldest  of 
the  chalices  known  in  Ger- 
many. It  is  in  the  monastery 
of  Kremsmiinster,  and  an  in- 
scription bears  witness  to  its 
having  been  the  gift  of  Duke 
Tassilo,  who  founded  the 
monastery  in  the  year  yj^j. 

The  next  (Fig.  30)  shows 
the  fine  cup  at  Wilten,  in 
Tyrol,  which  dates  from  the 
end  of  the  twelfth  century. 

Every  chalice  has  its  proper 
paten  for  the  reception  and 
distribution  of  consecrated 
bread.  Some  of  these  were 
very  large,  being  used  for  the  reception  of  offerings.  One  of  gold, 
weighing  30  lbs.,  is  recorded.  The  paten  of  the  Wilten  cup  is 
about  nine  inches  in  diameter.  It  is  decorated  on  both  sides 
with  pictures,  the  lower  one  with  a  relief  of  the  crucifixion. 

The  next  chalice  (Fig.  31)  represented  is  that  of  St.  Remigius, 
formerly  in  the  cathedral  at  Rheims,  and  now  in  the  National 
Library,  Paris.     It  belongs  to  the  eleventh  century. 

It  is  to  be  observed  that  as  in  the  twelfth  century  the  wine 
was  no  longer  given  to  the  people,  but  the  cup  reserved  for  the 
celebrant,  the  chalice  was  made  from  that  time  of  a  much 
smaller  size. 


(/'V^.  29.)  THE  TASSILO-CUP,  SECOND  HALF  OF  VIIITH 

CENTURY.     \^From  Kre»tsmiinster.'\ 


The  earlier  Censers  were  usually  made  of  bronze  and 
copper,  but  later  examples  are  mostly  of  silver.  Although  the 
necessities  of  construction  by  which  a  basin  for  the  reception  of 


Ecclesiasiica  I  A7't.  45 

glowing  coals,  with  openings  in  the  lid  for  the  escape  of  the 
smoke  are  constant,  much  variety  of  design  has  been  produced 
by  the  artificers. 

The  censer  of  an  architectural  character  (Fig.  32)  here 
represented  is  probably  of  the  latter  part  of  the  fojrteenth 
or  beginning  of  the  fifteenth  century.  Previous  to  that  time, 
the  sacred  utensils  which  were  required  for  the  service  of  the 
c'.iurch  were  chiefly  made  in  the  ecclesiastical  workshops  which 


(Fig^.  30.)  CHALICE  OF   GOLD   AND   RNAMEL,    END  OF   XIITH   CENTURY. 

\From  Wilten,  in  Tyrol.^ 

were  attached  to  cathedrals  and  monasteries.  There  was  a 
celebrated  workshop  in  the  cloister  of  St.  Denis,  another  in  the 
precincts  of  Notre  Dame  ;  and  many  of  the  famous  monasteries 
had  their  own  atelier  d' orft^vrerie.  The  style  adopted  was  purel}- 
ecclesiastical,  and  the  cross  was  used  wherever  it  was  practicable  ; 
but  in  the  fourteenth  century  this  work  for  the  service  of 
the  church  was  often  executed  by  the  laity,  and  a  different  kind 
of  ornamentation  was  introduced,  in  which  architectural  features 
were  very  prominent. 


4^  Gold  and  Silver  Smiths   Work. 

The  Croziers  and  Pastoral  Staffs  of  bishops  and  other 
ecclesiastical  dignitaries  allowed  of  great  variety  of  treatment 
by  the  goldsmith.  The  crozier  of  Lismore  in  Ireland,  now  in 
the  museum  of  the  Royal  Irish  Academy,  is  of  a  very  primitive 
shape  ;  but  the  simple  crook  was  soon  superseded  by  something 
more  elaborate.  Thus  in  the  crozier  of  the  twelfth  century 
(Fig-  33)*  formerly  belonging  to  the  Bishop  of  Laon,  and  now  in 
the  possession  of  Mr.  H.  Magniac,  the  metal  is  rolled  over  in  a 


(Fig.  31.)   CUP   OF   ST.    REMIGIUS,    XITH    CENTURY. 

[/«  the  Treasury  of  Rheims  Cathedral.'\ 

graceful  whorl  or  volute,  finished  with  a  large  flower.  Below 
the  whorl  comes  a  boss  of  open  metal  work.  This,  with  varieties 
of  detail,  represents  a  large  number  of  these  utensils  at  this 
period.     Sometimes  the  crozier  was  made  to  receive  relics. 

Allusion  has  already  been  made  to  the  beautiful  chandeliers 
that  were  general  in  the  large  churches,  such  as  the  great  corona 
at  Hildesheim.  During  the  twelfth  century  was  produced  the 
great  chandelier  suspended  under  the  cupola  of  the  cathedral  of 
Aix-la-Chapelle,  and  very  like  the  one  at  Hildesheim,  though  not 


(I-ig.  32  )  CENSER,    RUSSIAN,   EARLY   PART  OF   THE  XVTH   CENTURY. 


48  Gold  and  Silver  Smiths   Work, 

so  large.  It  has  eight  circular  arches,  made  of  two  plat-bands  of 
metal,  between  which  run  a  network  of  silver  in  raised  open-worked 
carving.  At  the  eight  points  where  the  arches  touch,  is  raised 
some  little  turrets  in  rounded  form,  and  at  the  top  of  the  arches 
larger  turrets,  alternately  in  squares  and  quatrefoils.*  Besides 
these  chandeliers,  there  were  the  large  candlesticks  which  stood 
on  the  floor  of  the  church,  and  were  often  made  of  common  metals. 
Altar  candlesticks  of  this  characterwere  not  used  before  the  twelfth 
century,^  but  in  the  early  part  of  that  century  was  produced  one 
of  the  most  artistic  objects  of  the  period,  which  is  known  as  the 
Gloucester  candlestick.  It  is  executed  in  a  white  alloyed  metal, 
containing  apparently  a  fair  proportion  of  silver.  In  general 
design  it  follows  the  type  common  to  these  objects,  having  a 
straight  stem  divided  by  three  bosses,  with  a  triangular  base,  a 
large  receptacle  at  the  top  to  prevent  the  grease  from  dropping, 
and  a  pricker  to  hold  the  candle.  It  is  covered  with  decoration, 
every  member  being  loaded  with  ornamental  detail,  consisting 
of  volutes  and  foliage,  in  the  folds  of  which  are  grotesque  figures 
of  men,  birds,  and  monsters.  The  whole  composition  is  most 
symmetrical,  and  although  full  of  action,  the  treatment  is  in 
every  way  appropriate  to  the  purpose  for  which  it  was  made. 
This  fine  specimen  of  English  workmanship  is  now  in  the  South 
Kensington  Museum. 

The  idea  of  the  seven-branched  candlestick  of  the  Jewish 
temple  was  frequently  reproduced  for  Christian  churches  in 
bronze  or  some  other  alloyed  metal.  These  candlesticks  were 
sometimes  gilt,  as  is  the  fragment  still  preserved  in  the  cathedral 
at  Prague,  which  is  traditionally  supposed  to  be  a  part  of  the 
original  Jewish  candlestick.  Another  fragment  of  a  similar 
design  is  in  the  cathedral  of  Rheims.  Others  complete  are  at 
Brunswick  and  at  Essen.  The  Brunswick  candlestick  is  of 
bronze,  with  bands  of  enamel,  and  stands  about  ten  feet  high. 
It  was  the  gift  of  William  the  Lion  in  the  twelfth  century  to  the 
cathedral  of  Brunswick.  The  largest  and  grandest  specimen  of 
these  seven-branched  candlesticks  is  the  so-called  albero  (tree)  of 
Milan  Cathedral.     It  is  of  gilt  bronze,  and  stands  over  fourteen 

"  Labarte,  i.  401. 

^  Liibke,  "Ecclesiastical  Art  in  Germany,"  1870,  p.  180. 


{fie  33)  CK02IER   FROM   1.AON   CATHEDRAL,   XIITH   CENTLRY. 

lAVw/«  the  ^sscssioH  of  Mr.  li.  MagHtac.\ 


50  Gold  and  Silver  Smiths   Work, 

feet  in  height.  The  design  consists  of  a  straight  reeded  stem 
divided  by  round  bosses,  from  which  the  branches  spring.  The 
lower  boss  is  treated  in  a  very  beautiful  and  elaborate  manner. 
The  base  is  formed  by  four  dragons,  between  which  foliage  and 
a  variety  of  figures  are  represented.  There  is  reason  to  believe 
that  when  the  candlestick  was  restored  in  the  sixteenth  century, 
some  of  its  old  figures  were  replaced  by  others  of  a  more  modern 
character.  There  is  a  cast  of  the  albero  in  the  South  Kensington 
Museum. 

A  .beautiful  portable  altar,  called  a  Super- Altar,  made  of 
wood,  and  covered  with  jasper,  inlaid  with  silver  (Fig.  34),  and 
decorated  with  niello,  was  in  the  possession  of  the  late  Dr. 
Rock.  It  is  of  Italian  workmanship  of  the  thirteenth  century, 
and  worthy  of  study  for  the  chasteness  of  its  ornamentation. 

At  the  beginning  of  the  fourteenth  century  a  new  and  beau- 
tiful object  was  added  to  the  list  of  sacred  vessels.  This  was  the 
Monstrance,  formed  for  the  purpose  of  holding  the  consecrated 
host,  the  need  of  which  arose  upon  the  occasion  of  the  festival  of 
Corpus  Christi,  which  was  first  celebrated  about  this  period.  Most 
of  these  vessels  are  of  a  rich  Gothic  design,  and  belong  to  the 
fifteenth  century.  They  are  frequently .  miniature  copies  of 
ecclesiastical  buildings.  The  silver  monstrance  of  the  fifteenth 
century,  now  in  the  possession  of  Mr.  H.  Magniac,  is  an  excellent 
example  of  this  style  of  work. 

The  monstrance  of  the  Castle  of  Sedletz,  in  Bohemia  (Fig.  35), 
is  a  chef-d'ceiivre,dir\d  unsurpassed  by  any  other  known  specimen. 
It  also  was  made  in  the  fifteenth  century.  These  objects  show, 
in  a  very  marked  degree,  that  influence  which  was  exerted  by 
Gothic  art  over  the  whole  of  the  goldsmith's  and  silversmith's 
work.  The  heavy  lines  of  the  Romanesque  style  disappear  in 
their  productions,  and  a  total  change  was  effected  by  the  pointed 
style  of  architecture. 

Another  of  the  various  vessels  used  for  the  reception  of  the 
consecrated  bread  was  the  Ciborium.  Some  of  the  Gothic 
specimens  are  not  unlike  monstrances,  but  the  old  Byzantine 
form  was  retained  by  the  Greek  church.  The  Ciborium,  belong- 
ing to  the  Grand  Duke  Vassilievitch,  made  at  the  end  of  the 
fourteenth  century  (Fig.  36),  shows  the  character  of  the  eccle- 


z     a 


z      "5 


E   2 


52  Gold  and  Silver  Smiths   Work. 

siastical  ornament  that  was  then  used.     Up  to  this  period  the 
workers  in  precious  metals  had  been  almost  exclusively  employed 
in    producing  objects    for  the   service  of  the  church,   and   the 
greater  portion  of  these  proceeded  from  the  monasteries,  where 
schools  of  goldsmiths  had  been  formed  ;  but  at  the  beginning  of 
the  fourteenth  century  the  goldsmiths  found  a  new  source  of 
industry  in  the  increased   domestic  appliances   that  were  con- 
sidered necessary.     Kings  and  princes  vied  with  each  other  in 
the  luxury  of  their  appointments,  and  the  sideboards  and  tables 
of  the  wealthy  were  loaded  with  massive  gold  and  silver  plate. 
The  dukes  of  Burgundy  were  foremost  among  the  princes  of  the 
age  for  luxurious  display,  and  the  most  accomplished  artists  in 
gold  and  silver  in  the  fourteenth  century  came  from  Burgundy 
and  the  Netherlands.     The  use  of  gold  and  silver  in  personal 
adornment  became  so  excessive  about  this  time,  that  in   1356 
King  John  of  France  prohibited,  by  ordinance,  the  goldsmiths 
from  making  "  gold  or  silver  plate,  vases,  or  silver  jewellery,  of 
'  more  than  one  mark  of  gold  or  silver,  excepting  for  the  churches." 
This  edict  had  little  effect,  and  Charles  V.  of  France,  the  son 
and  successor  of  its  promulgator,  died  in  the  possession  of  a 
treasury  crowded  with  objects  of  the  goldsmith's  art  of  immense 
value.     The  lavish  display  of  plate  was  not  altogether  a  sign  of 
extravagance,  because  in  those  times  when  there  were  few  means 
of  investing  money,  the  collection   of  articles  in  the  precious 
metals  gratified   the  owner's  vanity  in  prosperous   times,  and 
in   the  day  of  trouble   secured   him  property  which  could   be 
quickly  realized.     The  inventories  of  the  royal  and  noble  house- 
holds give  us  some  idea  of  the  varied  character  of  these  posses- 
sions.    The  inventory  of  the  plate  belonging  to  Louis,  Duke  of 
Anjou,  drawn  up  between  the  years  1360  and   1368,  comprises 
717  items,  and  this  is  not  the  whole  of  it,  as  several  leaves  have 
been  torn  out.     Very  little  of  these  vast  collections  of  plate  has 
come  down  to  our  times,  partly  because  at  the  Renaissance  large 
quantities    were    melted    to   be   remodelled    according   to   the 
taste  of  the  time,  and  what  then  escaped  was  destroyed  during 
the  civil  wars  of  the  seventeenth  century,  and  turned  into  money 
with  which  to  pay  the  soldiers.     Cellini  melted  down,  by  com- 
mand of  Clement  VIL,  two  hundred  pounds'  weight   of  gold 


'^MS"^ 


(.^'(Sr-  35-)  MONSTRANCK  OF  SEDLETZ  CASTr.E, 
BUHE.MIA,    XVTH   CEM  I  RV. 


54  Gold  and  Silver  Smiths   Work, 

obtained  from  the  jewels  of  St.  Peter's,  when  that  pope  was 
blockaded  in  the  Castle  of  Saint  Angelo  by  the  Spaniards  in 
1528. 

The  salt-cellar  and  the  Nef  were  amongst  the  most  important 
of  the  articles  that  were  produced  by  the  silversmith  for  secular 
purposes.  The  Salt-Cellar  was  usually  of  silver,  but  was 
sometimes  of  gold  or  silver-gilt.  It  was  of  considerable  size, 
and  made  in  all  kinds  of  form,  sometimes  in  that  of  a  dog  or 
other  animal.  In  most  instances  it  was  supplied  with  a  cover. 
The  Nef  was  formed  in  the  shape  of  a  miniature  ship,  and  was 
used  as  a  receptacle  for  the  goblet  and  other  utensils,  besides 
spices  and  sweetmeats.  It  was  placed  in  the  middle  of  the  table 
and  occupied  the  position  of  the  modern  epergne.  Ropes  and 
sails  are  found  in  these  miniature  vessels,  and  figures  executed 
with  great  skill  were  often,  placed  upon  the  deck.  A  nef  of  the 
early  part  of  the  seventeenth  century  is  preserved  in  the  Rath- 
haus  of  Emden,  in  Hanover,  from  the  hull  of  which  wine  was 
drunk.  Among  the  jewels  possessed  by  Piers  Gaveston  in  13 13, 
mention  is  made  of  a  ship  in  silver  on  four  wheels,  and  one  be- 
longing to  Edward  III.  was  on  four  wheels,  had  gilt  dragons 
at  both  ends,  and  was  valued  at  1 2/.  js.  4^. 

Mechanical  contrivances  were  often  resorted  to  by  the  workers 
in  precious  metals  ;  thus,  a  fountain  made  by  the  Parisian  gold- 
smith, Guillaume  Boucher,  which  weighed  3000  silver  marks, 
was  in  the  form  of  a  tree,  around  which  were  four  lions,  from 
whose  mouths  wine  poured.  Upon  the  top  of  the  tree  stood  an 
angel,  who,  when  a  particular  spring  was  touched,  raised  a 
trumpet  to  his  mouth. 

When  the  collection  of  these  valuable  objects  became  a  fashion, 
it  was  necessary  for  the  owners  to  prepare  some  means  of  keep- 
ing them  in  safety,  and  in  the  fourteenth  century  we  find  that 
strong  rooms  for  the  reception  of  gold  and  jewels  first  became 
common. 

The  wills  of  the  middle  ages  often  contain  inventories  of  plate, 
and  thus  throw  light  Upon  the  special  fashions  of  the  time. 
Presents  were  given  and  exchanged  at  certain  periods  of  the 
year  by  all  classes,  from  the  king  downwards.  At  coronation 
feasts  and  ceremonial  banquets  the  officers  in  attendance  on 


{.Fi£.  36-)  CIBORIUM,    111  i  :    a_,    END  OF  XIVTH    CENTURY. 

IBtlomging  to  the  Grattd  Duke  yassilicvltch.'l 


56  Gold  and  Silver  Smiths  Work, 

royalty  frequently  received  as  perquisites  the  gold  and  silver 
vessels  which  it  was  their  duty  to  bear. 

The  new  year  was  a  very  general  time  of  gifts.  Among  the 
manuscripts  of  the  Rev.  F.  Hopkinson,  of  Malvern  Wells,  Wor- 
cester, there  is  preserved  a  skin  of  parchment,  dated  131 5,  and 
headed,  "Jewels  found  in  two  coffers  of  the  wardrobe  of  the 
time  of  Sir  I.  de  Warke,"  opened  by  King  Edward  II.  and 
given  to  divers  persons.  Each  entry  contains  a  description  of 
the  thing  given,  its  weight  and  its  value,  and  the  person  to 
whom  it  was  given.  Nearly  all  these  were  New  Year's  gifts,  and 
consisted  of  silver-gilt  cups,  silver-gilt  dishes,  and  gold  brooches, 
set  with  emeralds  and  gold  flowers.  The  king  sent  to  the 
Queen  Isabella  from  this  treasure  a  cup  and  dish  of  gold  value 
260  marks.* 

Although  the  goldsmiths  were  actively  engaged  in  the  service 
of  the  nobles,  they  obtained  about  this  time  a  new  class  of 
customers  in  collegiate,  municipal,  and  other  corporate  bodies, 
who  collected  for  the  ornament  of  their  tables,  cups  and  hanaps, 
and  other  objects  of  elaborate  design.  Most  of  these  cups,  &c., 
that  have  come  down  to  our  time,  belong  to  a  later  period,  and 
will  be  described  more  fully  in  the  next  chapter.  Two  very 
important  cups,  however,  which  belong  to  the  fourteenth  century 
must  be  mentioned  here.  The  Founder's  Cup,  preserved  at  Pem- 
broke College,  Cambridge  (Fig.  37),  is  of  silver-gilt,  and  has  the 
following  inscriptions  :  on  the  bowl,  "  Sayn  denes  y*  es  me  dere 
for  hes  lof  drenk,  &  mak  gud  cher  ;"  on  the  stem,  "  God  help 
at  ned."  The  letters  "V.M.'^  also  occur  on  the  stem,  and  are 
supposed  to  stand  for  Valence  Marie,  the  old  name  of  the  col- 
lege, which  was  founded  in  memory  of  her  husband  and  herself 

^  Hist.  MS.  Com.  iii.  262.  Under  the  Tudors  and  especially  in  Elizabeth's 
reign  the  practice  was  carried  to  an  extravagant  height.  The  sovereigns 
received  gifts — a  custom  that  can  be  traced  back  to  the  reign  of  Henry  VI. 
The  gifts  yearly  presented  to  Elizabeth  were  of  great  value,  and  an  exact 
and  descriptive  inventory  was  made  of  them  every  year  on  a  roll  which  was 
signed  by  the  queen  herself  and  by  the  proper  officers,  and  although  the 
exact  value  cannot  be  ascertained,  some  estimate  can  be  made  from  the 
presents  of  plate  given  by  the  queen  in  return.  The  total  weight  of  plate 
so  given  in  1577-8  amounted  to  5882  ounces.  This  custom  seems  to  have 
ceased  with  the  Commonwealth. — See  Chambers'  "  Book  of  Days,"  i.  32. 


Ecclesiastical  Work, 


57 


by  Mary  dc  St.  Pol,  the  widow  of  Aymer  de  Valence,  Earl  of 
Pembroke.  The  remarkable  cup  belonging  to  the  Corporation  of 
Lynn,  known  as  "  King  John's  Cup,"  is  of  silver  partially  gilt 
and  decorated  with  figures  and  symbols  of  the  chase  on  an 
enamelled  field.  It  is  supposed  to  have  been  presented  to  the 
town  by  King  John  of  France. 

The    Church,  however,  was  not  neglected,  and  magnificent 
examples   of  ecclesiastical   goldsmith's   work  continued  to  be 


KFig-  37-)  founder's  cup,  xivth  century. 
[^Pembroke  College. "^ 

produced.  Croziers  of  silver-gilt,  like  that  of  William  of  Wyke- 
ham,  now  in  New  College,  Oxford ;  golden  chalices  enriched  with 
precious  stones  (Fig.  38),  missals  and  books  of  Hours,  with 
their  jewelled  covers  and  elaborate  ornamentation,  all  show  the 
munificence  of  the  ecclesiastics  of  these  centuries. 

This  is  proved  by  the  following  extracts  from  a  list  of  plate, 
&c.,  of  New  College,  Oxford,  circa.  1400, — "First,  three  crosses, 
one  of  which  is  of  silver-gilt  and  stands  on  a  foot ;  the  other 


58 


Gold  and  Silver  Smiths   Work, 


two  of  copper,  one  of  them  gilt,  with  a  painted  staff,  and  the 
other  plated  with  silver,  with  a  staff  of  copper  plated  with  silver. 

Six  thuribles,  one  of  silver-gilt,  three 
of  copper-gilt,  and  two  others  of 
latten.  One  silver  boat,  with  a  silver 
spoon  for  incense.  Nine  chalices, 
eight  of  which  are  gilt.  One  silver- 
gilt  pyx,  for  placing  the  body  of 
Christ  thereon,  upon  the  high  altar. 
One  pyx  of  beryl  (berello)  adorned 
with  silver-gilt.  One  round  jewel  like 
a  ball  of  silver-gilt,  with  the  arms  of 
our  lord  the  founder  inscribed  thereon. 
Thirty  cruets,  two  of  which  are  silver- 
gilt.  Two  basins  of  silver.  Seven 
pax-breads,  one  of  which  is  of  silver- 
gilt,  and  the  others  of  copper-gilt. 
Four  processional  candlesticks,  two 
of  which  are  of  silver,  the  others  latten. 
Two  great  candlesticks  of  latten.  A 
silver  pail  for  holy  water."  ^  Silver 
statuettes  of  saints  were  common  in 
the  fourteenth  century,  and  many  of  them  have  been  preserved 
to  our  times. 

In  the  Museum  of  Sovereigns  at  the  Louvre  is  an  elaborate 
silver-gilt  reliquary,  surmounted  by  a  statuette  of  the  Virgin  with 
the  infant  Jesus.  This  fine  specimen  of  French  art  is  thus 
described  in  ]2,Q.(\M^va^x\!?>  History  of  Fuiiiitiire.  "The  chased 
pedestal  is  ornamented  with  enamels  ;  in  the  niches  and  but- 
tresses which  surround  it  are  twenty-two  statuettes  representing 
the  prophets  of  the  new  dispensation.  In  the  medallions  re- 
served between  the  reliefs,  of  which  the  ground  is  resplendent 
with  a  fine  blue  translucent  enamel,  rendered  still  more  brilliant 
by  hatchings  made  in  the  silver  in  an  opposite  direction,  are 
subjects  engraved  and  wrought  as  if  in  niches,  representing 
the  Annunciation,  the  Visitation,  the  Nativity,  the  appearance 
of  the  angels  to  the  shepherds,  the  Adoration  of  the  Magi,  the 
'  Hist.  MS.  Com.  ii.  135. 


{Fig.  38.)   CHALICE   IN    KLOSTER- 
NEUDERG,    XIVTH    CENTURY. 


The  Monk  Theophilus.  59 

presentation  in  the  temple,  the  flight  into  Egypt,  the  Massacre 
of  the  Innocents,  the  Resurrection  of  Lazarus,  the  kiss  of  Judas, 
the  bearing  of  the  Cross,  the  Calvary,  the  Resurrection,  and 
Jesus  taking  the  just  out  of  purgatory.  On  enamel  plaques 
applied  at  the  angles  of  the  reliquary  are  the  united  blasons  of 
France  and  Evreux,  being  those  of  Charles  le  bel  and  Jeanne 
d'Evreux,  his  wife.  A  fine  Gothic  inscription,  engraved  and 
enamelled  in  blue,  confirms  this,  in  these  words:  "  Ceste ymage 
dotina  Ci^ans  ma  dame  la  Royne  Jehe  devreiix  royne  de  France  et  de 
Navarre  compaigne  dit  roi  Challes  le  XX  VIII'  Jour  d'A  vril  Ian 
MCCCXXXIXr 

Another  very  fine  example  of  the  same  school  of  art  is  the 
shrine  of  St.  Anne,  the  work  of  Hans  Greiff,  the  celebrated 
Nuremberg  goldsmith,  which  is  now  in  the  Hotel  Cluny.  It  is 
made  of  enamelled  silver,  enriched  with  precious  stones,  and 
forms  a  group  consisting  of  St.  Anne  seated  in  a  canopied  arm- 
chair with  the  Virgin  Mary  and  another  child,  whom  the 
German  legends  claim  to  be  intended  for  the  Virgin's  brother, 
on  her  lap.     Above  is  a  shrine  containing  the  sacred  relics. 

We  may  here  pause  a  moment  to  notice  a  very  remarkable 
work,  which  contains  some  excellent  directions  for  the  use  of  the 
artificer  in  the  precious  metals.  The  monkish  artist  Theophilus 
wrote  a  Latin  description  of  the  arts  of  his  time  ("  Diversarum 
Artium  Schedula"),  and  devoted  seventy-nine  chapters  of  his 
book  to  the  art  of  the  goldsmith.  He  has  fixed  no  date  to  his 
essay,  and  authorities  have  differed  as  to  the  age  in  which  he 
lived.  Lessing  supposed  him  to  have  lived  as  early  as  the  ninth 
century,  but  the  Abb^  Texier  held  the  opinion  that  he  flourished 
in  the  thirteenth  century.  This  last  date,  however,  is  probably 
about  a  hundred  years  too  late.  Theophilus  commences  his 
chapter  on  the  working  of  the  precious  metals  by  mentioning  the 
different  tools  that  were  required,  and  then  describes  minutely  the 
various  processes  necessary  for  the  metal-worker  to  understand. 
The  goldsmith  was  required  to  be  a  modeller,  sculptor,  smelter, 
cnameller,  jewel-mounter,  and  inlay-worker.  He  had  to  form 
his  own  models  in  wax,  as  well  as  to  labour  with  his  hammer,  or 
embellish  with  his  graver.     He  had  to  lavish  all  the  resources  of 


6o  Gold  and  Stiver  Smiths   Work. 

his  art  upon  the  vessels  for  the  church,  and  the  ornaments  for 
the  table,  and  to  produce  by  the  ordinary  processes  of  punching 
the  openwork  or  copper  designs  for  printing.' 

The  present  chapter  may  well  conclude  with  some  notice  of 
the  goldsmiths  who  made  the  beautiful  objects  that  glorified  the 
ages  of  which  we  have  been  treating. 

A  valuable  list  of  workers  in  gold  and  silver  was  drawn  up  by 
Baron  Pichon,  and  incorporated  by  the  late  Mr.  Jacquemart  in 
his  History  of  Furniture.  We  have  not  room  for  the  entire  in- 
ventory, but  will  insert  a  few  of  the  names  with  dates  attached. 

{Italy) 

1300     Bertiicci,  goldsmith  of  Venice. 

1334     Mondino  of  Cremona,  goldsmith  of  Venice. 

Cristofano  of  Paolo,  employed  on  the  altar  of  the  baptistery  of  Florence. 
1338     Ugolino  of  Siena,  maker  of  the  reliquary  of  Orvieto. 
1345     Gianmaria  Boninsegna,  restorer  of  the  pala  d'oro  of  St.  Mark. 
1382     Giacomo  di  Marco  Benato,  Venetian  goldsmith. 

1398  Andrea  Arditi  of  Florence. 

141 5  Bartoluccio  Ghiberti,  father-in-law  of  Lorenzo. 

1466  Leone  Sicuro,  Venetian  goldsmith. 

1487  Bertolotus  de  Puteo,  maker  of  the  cross  of  Monza. 

1498  Antonio  del  Pollaiuolo,  pupil  of  Bartoluccio  Ghiberti. 

{Gerinany) 

1472     Hans  Greiff,  of  Nuremberg. 

1482     Heinrich'Hufnagel. 

{France) 

1322     Nicolas  des  Nielles  or  di  Nigella,  goldsmith  at  Paris. 
1352     Jehan  le  Brailler,  goldsmith  to  John  IL  the  good. 
1364    Jean  de  Mantreux,  goldsmith  to  the  same  king. 
1396     Hance  Croist,  goldsmith  to  the  Duke  of  Orleans. 

1399  Ghiselin  Carpentier  of  Tournay. 

1405  Jehan  Manfroy,  goldsmith  to  the  Duke  of  Burgundy. 

1417  Michel  Blondel  of  Blois. 

1455  Gilbert  Lorin,  goldsmith  to  Charles  VIL 

1495  Jehan  Gallant,  goldsmith  to  Charles  VI IL 

1499  Henri,  goldsmith  to  Louis  XII. 

Some  others  in  Baron  Pichon's  list  and  some  artists  not  in- 
cluded in  it  require  a  somewhat  extended  notice. 

'  Lacroix's  "  Arts  of  the  Middle  Ages,"  p.  133. 


Celebrated  Goldsmiths. 


6i 


The  celebrated  Niccolo  of  Pisa  (thirteenth  century),  accord- 
ing to  Vasari,  first  worked  under  some  Greek  sculptors  who  were 
employed  to  execute  the  figures  and  other  sculptured  ornaments 
of  the  Duomo  of  Pisa,  and  the  chapel  of  San  Giovanni.  His  son 
Giovanni,  although  chiefly  employed  in  marble  sculpture,  found 
time  to  make  fine  silver  chasings,  and  to  design  clasps  and 
jewels.  He  was  succeeded  by  his  pupils,  Agostino  and  Agnolo 
of  Siena.  Andrea  of  Ognibene  executed,  in  1316,  the  altar 
front  for  the  cathedral  of  Pistoia,  which  still  exists.  A  greater 
name  is  that  of  Andrea  di  Cione  Orcagna,  who  was  the  author 
of  the  two  silver  bas-reliefs  on  the  altar  of  the  Baptistery  at 
Florence.  Cione  Orcagna  formed  a  numerous  school  of  artists, 
who  exercised 
a  considerable 
influence  upon 
their  times.  His 
two  most  emi- 
nent pupils  were 
Forzane  of  Ar- 
ezzo  and  Leo- 
nardo of  Flo- 
rence,  who 
worked       upon 

two  of  the  most  magnificent  monuments  of  the  goldsmiths' 
art  of  the  fourteenth  century,  viz.  the  altar  of  Saint  Jacques, 
at  Pistoia,  and  the  altar  of  the  Baptistery  to  which  the  bas- 
reliefs  of  Cione  were  adapted.  Mons.  Paul  Lacroix  remarks 
that  "during  more  than  a  hundred  and  fifty  years  the  orna- 
mentation of  these  altars,  of  which  no  description  can  give  an 
idea,  was,  if  we  may  so  say,  the  arena  wherein  all  the  most 
famous  goldsmiths  met."  ^ 

At  the  end  of  the  fourteenth,  and  the  beginning  of  the  fifteenth 
century,  Luca  della  Robbia,  the  great  potter  ;  Filippo  Bruncl- 
leschi,  the  architect  and  sculptor ;  Donato  di  Betto  Bardi,  known 
as  Donatello,  the  great  sculptor ;  and  Lorenzo  Ghiberti,  to  whom 
we  owe  those  marvellous  doors  of  the  Baptistery  which  Michel- 


(Fi)>.  39.)    BROOCH,    SILVER   WITH    NIELLO;    ITALIAN,    XVTH    CENTURY. 

[/«  South  Kensington  Museum  J\ 


*  *'  Arts  in  the  Middle  Ages,"  p.  146. 


62  Gold  and  Silver  Smiths    Work, 

angelo  pronounced  worthy  of  being  placed  at  the  entrance  to 
Paradise,  all  obtained  their  first  lessons  of  art  in  the  studios  of 
goldsmiths  ;  well,  therefore,  may  M.  Labarte  say  that  from  such 
pupils  "  we  may  judge  what  artists  the  Italian  goldsmiths  of  that 
period  must  have  been." 

Some  names  of  the  French  artists  have  been  handed 
down  to  us  by  the  rolls  of  accounts  and  inventories  of 
the  time.  Labarte  mentions  Gabriel  Closier,  who  worked  for 
Charles  VI.  and  Louis,  Due  de  Touraine  ;  Aubertin  Boillefdres, 
goldsmith  to  the  Due  d'Orleans  in  1414.  Then  we  have 
other  names  mentioned  as  the  authors  of  fine  specimens  of 
the  art. 

The  beautiful  shrine  of  Saint-Germain-des-Pres,  not  now  in 
existence,  had  the  form  of  a  small  Gothic  church,  and  was 
finished  in  the  year  1408  by  Jean  de  Clichy,  Gautier  Dufour,  and 
Guillaume  Boey,  celebrated  Parisian  goldsmiths  of  their  time. 
And  merely  to  mention  the  names  of  other  artists,  we  have 
Jehan  Villain,  of  Dijon  (1414 — 143 1)  ;  Gilbert,  Jehan,and  Martin 
Hersaut,  goldsmiths  to  Charles  VII.  ;  Remy  Fortier,  Lubin  de 
Queux,  Guillemin  Chenu,  Guillaume  Janson,  Etienne  Hulievre, 
Jehan  P'ernicle,  Jehan  Barbier,  of  Paris,  Gerard  Loyet,  Jean 
Galant,  and  Lambert  Hautement. 

The  wars  and  tumults  that  devastated  France  at  this  period 
paralyzed  all  industries,  and  the  princes  and  nobles,  instead  of 
patronizing  the  goldsmith,  were  forced  to  melt  down  the 
treasures  they  possessed,  in  order  to  pay  their  soldiers  or  redeem 
their  fellows  from  captivity.  During  this  period  the  goldsmiths' 
art  flourished  in  the  neighbouring  country  of  Flanders,  and  was 
encouraged  by  the  dukes  of  Burgundy :  Corneille  de  Bonte, 
who  worked  at  Ghent,  was  considered  to  be  the  most  skilful 
goldsmith  of  his  time. 

Few  names  of  goldsmiths  are  associated  with  the  English 
work  of  the  centuries  here  treated,  but  we  have  reason  to  believe 
that  these  artificers  occupied  a  very  prominent  position  in  the 
commonwealth.  Among  the  heads  of  the  trade  may  be  men- 
tioned Leofstane,  Provost  of  London  in  iioo;  Ade,  the  king's 
goldsmith  in  1200  ;  Itger,  Master  of  the  Mint  in  1222 ;  Gregory 
de  Rokesby,  eight  times  mayor  (1275 — 1281,  1285),  who  was  Chief 


Commencement  of  the  Renaissance.  63 

Assay  Master  of  all  the  king's  mints  in  England  ;  William 
Farringdon,  sheriff  in  1280  ;  Sir  Nicholas  Farringdon,  four  times 
mayor  (1308,  1313,  1320,  1323),  and  Sir  Dru  Barentine,  twice 
Lord  Mayor  (d.  141 5).' 

There  is  another  name  which  may  be  added  to  this  list, 
although  it  is  little  more  than  a  name.  William  Shore,  the 
husband  of  the  more  famous  Jane  Shore,  was  an  eminent  gold- 
smith of  the  fifteenth  century.     In  the  ballad  of  Jane  Shore  we 

read, — 

"  To  Matthew  Shore  I  was  a  wife," 

but  in  a  letter  from  Richard  III.  to  Russell,  Bishop  of 
Lincoln,  and  Lord  Chancellor,  the  goldsmith  is  distinctly 
referred  to  as  William  Shore,  and  we  presume  a  state  paper 
may  be  considered  a  more  trustworthy  document  than  a  popular 
ballad. 

About  the  middle  of  the  fifteenth  century  that  great 
change  in  the  feelings  of  men  which  caused  the  revival  of 
learning  and  of  the  arts  throughout  the  whole  of  Europe  first 
began  to  make  itself  felt.  No  art  was  more  thoroughly  affected 
by  the  spirit  of  the  Renaissance  than  that  of  the  goldsmith, 
and,  as  already  pointed  out,  many  of  those  who  afterwards 
shone  as  great  painters  first  exhibited  their  genius  in  designs  for 
gold  and  silver  work. 

Francesco  Raibolini,  better  known  as  Francia  (b.  1450, 
d.  1 5 17),  is  mentioned  by  Vasari  as  an  excellent  enameller, 
and  sinker  of  dies  for  medals.  Domenico  Bigordi  (b. 
1449,  d.  1494),  surnamed  Ghirlandaio,  on  account  of  the 
garlands  of  jewels  he  made  for  the  Florentines,  was  the  son  of 
Tommaso,  a  celebrated  goldsmith,  and  was  brought  up  to  his 
father's  business.  Although  he  afterwards  distinguished  himself 
as  a  painter,  he  had  previously  attained  fame  by  the  workman- 
ship of  two  silver  lamps  in  the  church  of  the  Annunziata  at 
Florence,  which  were  destroyed  in  the  year  1529.  Another 
celebrated  goldsmith  was  Andrea  del  Verrocchio,  the  master 
of  Leonardo  da  Vinci,  and  one  of  the  workers  employed 
upon  the  silver  altar  of  San  Giovanni.  He  was  engaged  upon 
the  restoration  of  the  silver  statuettes  of  the  Apostles  in  the 
»  Chaffers'  "  Hall  Marks,"  1875,  p.  134. 


64 


Gold  and  Silver  Smiths   Work, 


pontifical  chapel  when  he  decided  to  devote  the  remainder  of 
his  life  to  painting  and  sculpture. 

Ambrogio  Foppa,  surnamed  Caradosso,  of  Milan,  was  a  skilful 
artist  in  gold  and  silver,  and  distinguished  himself  more  especially 
in  medal-cutting  and  engraving.  He  was  a  contemporary  of 
Michelagnolo,  the  famous  goldsmith  of  Pinzi  di  Monte,  Florence, 
who  was  the  first  instructor  of  Benvenuto  Cellini. 

Having  now  arrived  at  the  period  when  modern  art  may  be 
said  to  have  commenced,  we  will  close  this  chapter  in  order  to 
begin  the  second  division  of  our  subject  with  some  notice  of 
Benvenuto  Cellini,  who  stands  out  as  the  most  prominent  among 
the  workers  in  precious  metals  during  the  period  of  the 
Renaissance. 


(/•/^.  40  )   BROOCH    OF   SILVER    FILAGREE   WORK. 

{Date  uncertain.'] 


INDEX, 


Aah-Hotep,  Queen 
Aix      la      Chapelle 

Shrines  at 
Alloys  . 


Cathedral, 


Altars  in  Italy  and  France     31,  50,  61 

Ancient  Art 10 

Assays 8 


Bemay,  Treasure  found  at   . 

Bernward,  Bishop 

Byzantine  Art       ...       23, 


PAGE 
II 

5 


17 
36 


Candlesticks  and  Chandeliers  .  46 
Cellini,  Benvenuto  .  .  4,  52 
Celtic  Jewellery    .        .        .        -32 

Censers 46 

Chalices         ...  ^i^,  44,  46 

Charlemagne,  Diadem  of  .  .29 
Ciborium,  The  .  .  .  -50 
Clothaire  II.,  Throne  of  .  .28 
Coinage,  Ancient  ...       4 

Engravers  of         •         •       5 

Standards  for         .        .6 

.     56 


College  Plate 
Cologne,    Shrine 
Kings  at    . 
*  Crowns,  Royal 
Croziers 


of   the    Three 


.  38 
24,36 
.     46 


"  Diversarum  artium  Schedula  "  .     59 

Early  Christian  Art       .  .  .22 

Ecclesiastical  Metal  Work  .  .     36 

Egyptian  Art         .         .  .  .10 

English  Goldsmiths      .  .  38,  62 

Etruscan  Work    .         .  .  •     IS 

Founder's  Cup,  The  .  .  -56 
France,  Goldwork  in  .  .  .28 
French  Goldsmiths       .        .         .60 

Gauls,  Goldwork  of  the  .  .21 
German  Goldsmiths  .  .  .60 
Gifts  of  Plate  and  Jewellery  in  the 

Middle  Ages  .  .  .  -54 
Gold,  Values  of  .  .  .  -9 
Goldsmiths,  Celebrated  .  .  60 
Greek  Art  ....     13 

Guerrazzar,  Treasure  of        .        .26 

H  all-Marks 7 

Hildcsheim  Treasure,  The    .        .18 

I  ron  Crown  of  the  Lombards  .  24 
Italian  Goldsmiths        .         .         .60 

King  Alfred's  Jewel      .         •        -     ZZ 


Index, 


Luxury  of  the  14th  Century 


PAGE 

52 


Mariette  Bey's  Discoveries  .        .11 
Metals,  Antiquity  of  the  Precious        i 


Mines,  Gold  and  Silver 
Monastic  Artists 
Money,  Early  Coinage  of 

■ Engravers  of    . 

■ Standards  for    . 

Monstrances 

Nef  of  Edward  III.,  The 

Petrossa,  Treasure  of  . 
Phoenician  Ear-rings  . 
Plate,  College 
Royal  Gifts  of  . 

Reliquaries 
Rennes,  Patere  de 
Riano,  Juan 

St.  Eloy         .         .         . 


2 

.       36,  59 

4 

'      5 

.      6 

.     50 

•  54 

.  23 

•  T7 
.        .  56 

•  54 

40,  42,  58 
.  17 
28,  yi 

.    28 


St.  Sophia,  Church  of  .  .  .23 
St.  Taurien,  Chasse  of  .         .     42 

Salt  Cellars 54 

Saxon  Art 32 

Schliemann's  Excavations  .  -15 
Shrine     of    the     Three     Kings, 

Cologne 38 

Silver,  \'^alue  of  .  .  .  -9 
Spain,  Goldsmiths'  Art  in  .  26,  37 
Standards,  New  and  Old  .  .  6 
Suger,  Abbot  of  St.  Denis  .  .  40 
Super- Altar 51 

Tara  Brooch,  The         .  .  -33 

Thebes,  Ornaments  found  at  .11 

Theophilus,  The  Monk  .  .     59 

Treasure  of  Bernay       .  .  .17 

; Guerrazzar  .  .     26 

Hildesheim  .  .     18 

Petrossa     .  .  .23 

Virgin  and  Child,  Statuette  of  the     58 


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